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"He had to find a new way to make art." Electrolift Creative has debuted an official trailer for an art world documentary titled Marcel Duchamp: Art of the Possible (or The Art of the Possible), made by director Matthew Taylor. The film explores the life, philosophy and impact of one of the most influential early 20th century modernists, Marcel Duchamp, originally born in Normandy, France in 1887. The documentary breaks down Duchamp's ideas and applies them to both historical events and the modernist explosion that blanketed the early 20th century. "The Art of the Possible isn't simply a biopic; rather, the film shows how Duchamp's ideas changed the public consciousness, and our understanding of aesthetics, art, and culture. The film highlights the singular impact of Duchamp's philosophy on art, and, more importantly, examines how Duchamp's revolutionary ideas from the early 20th century have shaped the 21st century and modern day." With appearances by Michel Gondry, Jeff Koons, Paul Matisse, Marina ...

“Cuties” director Maïmouna Doucouré says her film, which premiered at the Sundance Film Festival last Thursday, mirrors her experience as a young girl, when she wanted to be a boy because of the “injustices” towards women she saw around her.

“I was born in France, I grew up there and this movie is about a lot of traditions I saw when I was young, because when I was a child, my dream was to be a boy,” Doucouré told TheWrap’s Sharon Waxman at the festival. “I didn’t want to be a girl because of a lot of injustices I saw around me. Because of that, I was praying [to] God at 6, 7 years old to make me a boy. I saw that the world could be better and easier as a guy.”

She added, “I grew up in both cultures — my parents are from Senegal and I also have the Western culture. I was often torn between both as a woman. Today, I’m fine, I am happy to be a girl of course, but we have a fight to change the mentality of people about the place of women in society, and the movie is about how to become a woman in our society because it’s a bit complicated.”

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“Cuties” is about a young, French-African girl who joins a group of dancers at her school called “the cuties,” and she quickly becomes aware of her blossoming femininity. However, this upsets her mother, and her values, in the process.

Doucouré said she wanted to explore the question of whether we should “have the right to choose which women we can be in this world” or not.

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“In our culture, even today, I can say I’m not totally free,” she said. “Because I love to wear short dresses and at the same time, when I go to a religious ceremony, I wear a veil. Just choose as a woman: who do you want to be?”

“Cuties” stars Fathia Youssouf Abdillahi, Ilanah Cami-Goursolas, Demba Diaw and Medina El Aidi. It will debut in France on April 1.

Watch the video above.

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NBCUniversal unveiled its forthcoming streaming service Peacock on Thursday, including the full slate of scripted originals set to debut on the platform.

One of the new projects announced was a scripted comedy series from Tina Fey, Robert Carlock and “Unbreakable Kimmy Schmidt” alum Meredith Scardino. Titled “Girls5Eva,” the series centers on a one-hit-wonder girl group from the ’90s who reunite to give their pop star dreams one more shot. Per Peacock’s description of the series, “They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?”

Scardino will write and executive produce alongside Fey and Eric Gurian of Little Stranger, “Unbreakable Kimmy Schmidt” producer Robert Carlock, and Jeff Richmond and David Miner of 3 Arts Entertainment.

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Earlier on Thursday, Peacock also announced a new slate of original development, including a “MacGruber” revival, a new drama starring Laverne Cox, a comedy based on the McElroy family’s “Dungeons & Dragons” podcast, and others from Amy Poehler and Mindy Kaling.

Peacock has also picked up a number of international series for distribution in the U.S., including the BBC drama thriller “The Capture”; Channel 4’s “Lady Parts”; and the comedies “Intelligence” starring David Schwimmer, “Code 404,” and “Hitmen” from Sky Studios.

Previously announced Peacock scripted originals include comedies “Rutherford Falls,” “Saved by the Bell,” “A.P. Bio,” “Punky Brewster,” and the movie spinoff “Psych 2: Lassie Come Home,” as well as dramas “Dr. Death,” “Battlestar Galactica,” “Brave New World,” “Angelyne,” and “Armas de Mujer.”

See the full list of projects picked up to series at Peacock below.

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Limited series based on The Hollywood Reporter feature that explored the identity of L.A.’s mysterious billboard bombshell.

Armas De Mujer
From the team behind Telemundo’s hit La Reina del Sur comes a new dramedy series led by Mexican superstar Kate del Castillo. Four women suffer their worst nightmare: the police arrest their husbands for being linked to the same criminal organization. Accustomed to a life of abundance, they will be forced to join forces in the most unusual manner.

Battlestar Galactica
From the mind of Mr. Robot creator Sam Esmail comes a series that explores a new story within the Battlestar Galactica mythology, the eponymous TV show that saw humanity at war with Cylons, machines of their own creation.

Brave New World
Based on Aldous Huxley’s groundbreaking 1932 novel, Brave New World imagines a utopian society that has achieved peace and stability through the prohibition of monogamy, privacy, money, family, and history itself.

The Capture
A timely conspiracy thriller exploring pressing questions about surveillance and misinformation. Set in London, the modern-day spy show begins with the arrest of a former soldier, which spirals into a complex conspiracy involving manipulated video evidence. Produced by Heyday Television.

Dr. Death
Based on Wondery’s hit podcast of the same name, Dr. Death tells the terrifying true story of Dr. Christopher Duntsch (Jamie Dornan), a rising star in the Dallas medical community. Young, charismatic and ostensibly brilliant, Dr. Duntsch was building a flourishing neurosurgery practice when everything suddenly changed. Patients entered his operating room for complex but routine spinal surgeries and left permanently maimed or dead. As victims piled up, two fellow physicians, neurosurgeon Robert Henderson (Alec Baldwin) and vascular surgeon Randall Kirby (Christian Slater), set out to stop him. Dr. Death explores the twisted mind of a sociopath and the gross negligence of the system designed to protect the most defenseless among us.


The Amber Ruffin Show
Each week The Amber Ruffin Show will showcase Amber’s signature smart-and-silly take on the week. A late-night show with just the good parts – the comedy.

A.P. Bio
When disgraced Harvard philosophy professor Jack Griffin loses out on his dream job, he is forced to return to Toledo, Ohio, and work as a high school Advanced Placement biology teacher. As he comes crashing in to Whitlock High School, Jack makes it absolutely clear he will not be teaching any biology. Realizing he has a room full of honor roll students at his disposal, Jack decides instead to use the kids for his own benefit. Eager to prove that he is still king of the castle, Principal Durbin struggles to control the force of nature that is Jack Griffin.

Code 404
Detective Inspectors Major and Carver are the top crime-fighting duo at the Met Police’s Special Investigation Unit, until Major gets gunned down on the job. But in an experimental artificial intelligence project, he’s brought back from the dead.

Five Bedrooms
This is a story of five unlikely allies in life who throw caution to the wind and hit upon a unique solution to a common problem. Ignoring the nay-saying of families and friends, they’re teaming up, signing contracts and buying a house together. Yes, it’s a grand social experiment. It might be genius, or it might be a total disaster…but they’re not putting their lives on hold for love any longer. There’s just one glaring problem: they’ll have to live with each other.

When a one-hit-wonder girl group from the 90’s gets sampled by a young rapper, its members reunite to give their pop star dreams one more shot. They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?

The hits and (more often than not) misses of two hapless, dead broke best friends trying to make their way in the world with only each other to rely on. They also just happen to kill people for a living. Having stumbled into a career in contract killing, misfits Fran and Jamie are not your typical killers for hire. Working out of their scruffy van, each episode follows the hapless duo as they try to carry out their latest hit, inevitably derailed by incompetence, bickering, and inane antics.

A workplace sitcom set in the UK’s Government Communications Headquarters, which is a kind of weedier, geekier, more bureaucratic version of MI5 and MI6. When an arrogant, maverick NSA agent Jerry comes over from the US to join the team, he enlists an inept and tactless computer analyst Joseph in a power grab that threatens to disrupt the team’s ability to combat cyber terrorism.

Lady Parts
Lady Parts is an anarchic, laugh-out-loud music comedy following a Muslim female punk band called Lady Parts. It tracks the highs and lows of the band members as seen through the eyes of Amina Hussein – a geeky PhD student who is recruited to be their unlikely lead guitarist.

Psych 2: Lassie Come Home (Film)
Santa Barbara Police Chief Carlton Lassiter is ambushed on the job and left for dead. In a vintage Psych-style Hitchcockian nod, he begins to see impossible happenings around his recovery clinic. Shawn and Gus return to Lassie’s side in Santa Barbara and are forced to navigate the personal, the professional, and possibly the supernatural. Separated from their new lives in San Francisco, our heroes find themselves unwelcome in their old stomping grounds as they secretly untangle a twisted case without the benefit of the police, their loved ones, or the quality sourdough bakeries of the Bay Area. What they uncover will change the course of their relationships forever.

Punky Brewster
In this continuation of the iconic 80s sitcom about a bright young girl raised by a foster dad, Punky is now a single mother of three trying to get her life back on track when she meets Izzy (Copeland), a young girl in the foster system who reminds Punky a lot of her younger self.

Rutherford Falls
A small town in upstate New York is turned upside down when local legend and town namesake, Nathan Rutherford (Ed Helms) fights the moving of a historical statue.

Saved by the Bell
When California governor Zack Morris gets into hot water for closing too many low-income high schools, he proposes they send the affected students to the highest performing schools in the state – including Bayside High. The influx of new students gives the over privileged Bayside kids a much needed and hilarious dose of reality.

The Kids Tonight Show
The Kids Tonight Show is the only late-night talk show for kids, by kids. Kids doing a monologue, kids playing games, and kids interviewing the biggest stars in the world. It’s everything you love about Jimmy Fallon, but the kids are in charge.

Who Wrote That
A docuseries that gives a behind the scenes look at Saturday Night Live’s most important writers.


Archibald’s Next Big Thing
From the creative mind of Tony Hale (Veep), Archibald’s Next Big Thing is the story of Archibald Strutter, a chicken who ‘yes-ands’ his way through life. Archibald and his siblings live in Crackridge, a close-knit community filled with an ensemble of quirky characters. Archibald’s adventurous spirit often gets him in over his head, but he always manages to leave his world better than when he found it. Through Archibald’s unique perspective, we discover that things are seldom perfect and instead learn to focus on the humor and beauty of life’s imperfections.

Dragon Rescue Riders
Executive produced by Jack Thomas (Dragons: Race to the Edge), Dragons: Rescue Riders takes our young heroes to new highs when Dak, Leyla and their dragon friends find strange crystals that change their powers in fantastic and unexpected ways. And to new lows when they discover the sunken city of Valantis – a place filled with much dragon knowledge and danger.

DreamWorks Where’s Waldo?
DreamWorks Where’s Waldo? brings the iconic character to life in a new animated series from executive producer FM De Marco (Spy Kids: Mission Critical) and co-executive producer John Tellegen (Spy Kids: Mission Critical). Twelve-year- old Waldo and his best friend Wenda are members of the Worldwide Wanderer Society–the international order of curious travelers who circle the globe celebrating cultures and solving problems through observation. Their mentor–Wizard Whitebeard, a seasoned wanderer–sends these inquisitive young adventurers on international travel missions so they can earn their stripes and someday become wizard-level wanderers too. But standing in Waldo and Wenda’s way is their rival Odlulu, who can’t help but cause trouble wherever she goes.

Curious George
For more than 60 years the world has followed the adventures of a curious little monkey named George and his friend the Man with the Yellow Hat. Created by Margret and H.A. Rey, Curious George was first published in 1941 and has remained consistently beloved by children ever since. This animated series continues with that tradition as it introduces George to a whole new adoring generation. With a focus on education, the series incorporates early science and math content and draws upon George’s curiosity-driven adventures to target pre-school age viewers. George’s entertaining and ultimately informative experiences have proven to parents and children worldwide that there is nothing wrong with wanting to learn about the world around you!


Dream Team 2020
Follow USA Basketball’s top superstars on their journey to Tokyo in this exclusive, behind the scenes documentary series produced in partnership with NBA Entertainment. We’ll take you inside the 2020 Dream Team’s training camp, exhibition games and preparation for the 2020 Olympics, where Team USA is expected to make another gold medal run.

Hot Water: In Deep with Ryan Lochte
At the 2016 Rio Olympics Ryan Lochte was at the center of a scandal that has since overshadowed his long and decorated swimming career. Now a 35-year-old husband and father of two young children, Lochte is hoping for one more chance to make Team USA, and prove he’s not the same man he was four years ago.

United States of Speed
From Jesse Owens to Carl Lewis to Maurice Greene, there is a proud tradition of sprinting success in the United States. However in recent years, Jamaica’s Usain Bolt has been unbeatable at the Olympics. Now that the fastest man of all time has retired, meet the Americans who aim to put Team USA back on top in the sprints.

Run Through the Line
Nike founder Phil Knight and his friends take viewers through the creation of his world-renowned company and the ambitions he still chases at 81 years young. Based loosely on Knight’s best-selling memoir, Shoe Dog.

The Greatest Race
You probably remember where you were when you saw it. Michael Phelps and his teammates had fallen hopelessly behind race favorite France in the 4×100 relay at the 2008 Beijing Olympics. In the final leg, 32-year-old American Jason Lezak was losing ground to Alain Bernard, the 100m world record holder and anchor of the seemingly unbeatable French team. Then the impossible happened. Hear from the swimmers on both sides of the epic relay as we revisit The Greatest Race.

Untitled Dale Earnhardt Jr. Series
Created and hosted by Dale Earnhardt Jr., this series is an exploratory look at great racing cathedrals of the past. Dale Jr. tells the stories of speedways that have been forgotten, abandoned, and overtaken by nature.

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Dotted by hilltop views and an historic city-center, Angouleme in the Southwest of France has, in recent years, developed into a minor production hub for the Gallic industry. Benefiting from its status as France’s cartoonist and graphic arts capital, the city has become renowned for its animation and post-production infrastructure, boasting more than 30 animation […] | 1/15/20

Spike Lee has been named jury president of the 2020 Cannes Film Festival, which will be held May 12-23. The announcement comes two years after Lee’s last film “BlacKkKlansman” premiered to a standing ovation at the 2018 edition of the festival.

“Spike Lee’s perspective is more valuable than ever. Cannes is a natural homeland and a global sounding board for those who (re)awaken minds and question our stances and fixed ideas,” the Festival’s board said in a statement. “Lee’s flamboyant personality is sure to shake things up. What kind of President of the Jury will he be? Find out in Cannes!”

In his own statement, Lee said he “was shocked, happy, surprised and proud all at the same time,” and he credited the festival for having a huge role in his career success. “To me the Cannes Film Festival (besides being the most important film festival in the world – no disrespect to anybody) has had a great impact on my film career. You could easily say Cannes changed the trajectory of who I became in world cinema,” he said.

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“It started way back in 1986 – my first feature film ‘She’s Gotta Have It,’ which won the Prix de la Jeunesse in the Director’s Fortnight. The next joint was in 1989 – ‘Do The Right Thing,’ an Official Selection in Competition. And I don’t have the time nor space to write about the cinematic explosion that jumped off, still relative to this, 30 years later,” Lee continued.

“Then ‘Jungle Fever’ 1991 – Official Selection in Competition, ‘Girl 6’ 1996 – Official Selection out of Competition, ‘Summer Of Sam’ 1999 – Director’s Fortnight, ‘Ten Minutes Older’ 2002 – Official Selection in Un Certain Regard and then ‘BlacKkKlansman’ 2018 – Official Selection in Competition where it won the Grand Prix, which became the launching pad for the world theatrical release which led to my Academy Award for screenplay. So if you were keeping score that’s 7 Spike Joints to be chosen.”

Lee added that he is “honored to be the first person of the African diaspora (USA) to be named President of the Cannes Jury and of a main film festival.”

“The Lee family sincerely thanks the Festival de Cannes, Pierre Lescure and Thierry Frémaux and the great people of France who have supported my film career throughout four decades,” the director concluded, “I will always treasure this special relationship.”

The full jury for the 2020 Cannes film festival will be announced in April.

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“Lunana: A Yak in the Classroom” — the story about a young displaced teacher who travels to Bhutan and is taught his own life lessons from the happy and kind locals (including a yak) — won the Audience Award for Best Narrative Feature at The Palm Springs International Film Festival (PSIFF), it was announced Sunday.

“Gay Chorus Deep South” — a documentary following the San Francisco Gay Men’s Chorus as the group embarks upon a high-risk tour of the Deep South to spread a message of tolerance — won the Audience Award for Best Documentary Feature.

“Parasite” screenwriters Bong Joon Ho and Han Jin Won won the FIPRESCI Prize for International Screenplay for their tale about two Korean families — one wealthy and one poor — whose live intersect in the most unexpected way.

Among the acting awards, Bartosz Bielenia from “Corpus Christi” and Helena Zengel from “System Crasher” took top honors.

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The jury award categories included the FIPRESCI Prize for films in the International Feature Film Oscar Submissions program; New Voices New Visions Award for unique viewpoints from first- and second-time directors; Best Documentary Award for compelling non-fiction filmmaking; Ibero-American Award for the best film from Latin America, Spain or Portugal; Local Jury Award for the film that promoted understanding and acceptance between people; and the Young Cineastes Award for the film chosen by the Youth Jury. Finally, the GoEnergistics (GoE) Bridging the Borders Award, presented by Cinema Without Borders, honors the film that is most successful in bringing the people of our world closer together.

See the complete list of winners below:

Audience Award for Best Narrative Feature
“Lunana: A Yak in the Classroom” (Bhutan), Director Pawo Choyning Dorji

Audience Award for Best Documentary Feature
“Gay Chorus Deep South” (USA), Director David Charles Rodrigues

FIPRESCI Prize for Best International Feature Film of the Year
“Beanpole” (Russia), Director Kantemir Balagov

FIPRESCI Prize for the Best Actor in an International Feature Film
Bartosz Bielenia from “Corpus Christi” (Poland)

FIPRESCI Prize for Best Actress in an International Feature Film
Helena Zengel from “System Crasher” (Germany)

FIPRESCI Prize for International Screenplay
“Parasite” (South Korea), Screenwriters Bong Joon Ho and Han Jin Won
Special Mention: “Antigone” (Canada), Screenwriter Sophie Deraspe

New Voices/New Visions Award
“Song Without A Name” (Peru/Spain/USA/Chile), Director Melina León

The Documentary Award
“Talking About Trees” (France/Sudan/Germany/Chad/Qatar), Director Suhaib Gasmelbari

Ibero-American Award
“Monos” (Colombia), Director Alejandro Landes.
Special Mention: “Workforce” (Mexico), Director David Zonana.

Local Jury Award
“Adam” (Morocco), Director Maryam Touzani

Young Cineastes Award
“Corpus Christi” (Poland), Director Jan Komasa

GoEnergistics (GoE) Bridging the Borders Award
“Advocate” (Israel/Canada/Switzerland), Director Rachel Leah Jones, Philippe Bellaiche
Special Mention: “The Australian Dream” (Australia), Director Daniel Gordon

The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 136,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, which honors the year’s best achievements in cinema in front of and behind the camera.

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Claudine Auger, a French actress best known for her work as the Bond girl Domino in the 1965 James Bond movie “Thunderball” opposite Sean Connery, has died. She was 78.

The official James Bond Twitter account shared the news of her passing Friday.

“It’s with great sadness we have learnt that Claudine Auger, who played Domino Derval in ‘Thunderball” (1965), has passed away at the age of 78,” @007 said in a statement. “Our thoughts are with her family and friends.”

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Auger, born Claudine Oger, was a French star who first won the Miss France pageant in 1958 and was the runner up for Miss World that same year. She studied dramatic acting at the Conservatory in Paris and made her uncredited film debut in 1958 in a film called “Christine.” She was then discovered by the French auteur Jean Cocteau and appeared in his film “Testament of Orpheus” in 1960. She would later star in films such as “The Iron Mask” and “In the French Style.”

Though the part of Domino was originally written as an Italian woman, Auger met “Thunderball” producer Kevin McClory while on vacation in Nassau, and McClory rewrote the part to better fit Auger’s strengths.

Since her Bond days, Auger became a bigger star in European cinema, including in films and shows such as “Fantastica” and “The Memoirs of Sherlock Holmes.”

It’s with great sadness we have learnt that Claudine Auger, who played Domino Derval in THUNDERBALL (1965), has passed away at the age of 78. Our thoughts are with her family and friends.

— James Bond (@007) December 20, 2019

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French New Wave star Anna Karina, who served as a muse for Jean-Luc Godard and appeared in eight of his films, has died. She was 79. France’s culture minister, Franck Reister, announced her death in a tweet, as did her agent, Laurent Balandras, who attributed the cause as cancer. “Her gaze was the gaze of […] | 12/15/19

Anna Karina, the Danish-born star of classic French New Wave films of the 1960s such as “A Woman Is a Woman” and “Alphaville,” died on Saturday at age 79.

Her agent, Laurent Balandras, tweeted that she died of cancer.

“Today, French cinema has been orphaned,” Franck Riester, France’s culture minister, wrote in his own tweet. “It has lost one of its legends.”

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Karina landed her first film role as a teenager in Jean-Luc Godard’s “The Little Soldier,” a drama about the French-Algerian War that was shot in 1960 but not released until three years later due to censorship issues.

In 1961, she won the best actress award at the Berlin Film Festival for her work playing a French striptease artist in Godard’s 1961 film “A Woman Is a Woman.”

By that time, she had also married Godard — with whom she continued to work on classic New Wave films such as “My Live to Live,” “Band of Outsiders,” “Pierrot le Fou” and “Alphaville.”

After their divorce in 1967, Karina went on to act three dozen other films, and even tried her hand at directing with 1973’s “Vivre Ensemble,” about the tempestuous, abusive relationship between a young woman and a history teacher.

Karina was also a singer and novelist, recording an album and writing four books during her career.

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Whether a curse or a blessing, “May you live in interesting times” certainly applies to the LGBTQ community — the past decade saw the legalization of same-sex marriages and the end of the military’s “don’t ask, don’t tell” policy, but every advancement has been met with pushback and threats to overturn equal protections under the law. Trans characters (played, for a change, by trans performers) got their largest public spotlight on television shows like “Pose” and “Transparent,” while at the same time they remain the targets of violence and of hysterical and reactionary lawmakers. Whatever triumphs and travails the community faced in day-to-day life, their lives and loves continued to be reflected on the big screen; here are some of the decade’s greatest examples, listed alphabetically.

Runners-Up: “1985,” “Appropriate Behavior,” “Booksmart,” “BPM,” “Cola de Mono,” “Drunktown’s Finest,” “Kiki,” “Love, Simon,” “Paris 05:59 Théo & Hugo,” “Portrait of a Lady on Fire”

“Call Me By Your Name” and “Carol” (2017/2015)
One was set in the relatively permissive 1980s and the other in the restrictive 1950s, but both films were gorgeous portraits of aching longing and rapturous passion among the wealthy and artistic. These were lush dramas that scratched an old-movie itch while taking a very contemporary look at same-sex relationships.

“Concussion” (2015)
This unpredictable tale of a lesbian housewife shaking off the suburbs for sophisticated sex work had the erotic moxie of “Belle de Jour” and the knowing, arch qualities of “The Stepford Wives,” but it also represented the arrival of an important new voice — writer-director Stacie Passon, making one of the decade’s most exciting debuts.

“The Handmaiden” (2016)
Park Chan-wook transferred Sarah Waters’ novel “Fingersmith” from Victorian England to Japanese-occupied Korea, but the psychological gamesmanship and breathless lesbian eroticism remained intact. Boasting gorgeous production values and a script where characters are constantly gaining and losing the upper hand, this was a riveting thriller that took queer relationships as a given, even in what we think of as the buttoned-down olden times.

“How to Survive a Plague” (2012)
David France’s incredibly vital piece of activist cinema documented the rise of ACT UP in New York City in the 1980s, and how the members of that group fought the system — before, essentially, taking it over themselves — as the U.S. government and pharmaceutical industry turned its back on people with HIV and AIDS. It’s one of the great “yes, you can fight city hall” documentaries ever made.

“Moonlight” (2016)
The subtle ways in which children come to understand — and are taught to be afraid of — their true selves, and the obstacles for adults seeking to overcome a lifetime of negative messaging are just some of the threads that weave their way through this gorgeous tapestry of a life, as portrayed brilliantly by three actors and captured by writer Tarell Alvin McCraney and director Barry Jenkins.

“Pain and Glory” (2019)
Legendary filmmaker Pedro Almodóvar offered some of his most tenderly romantic moments late in this autobiographical film, as director Salvador (Antonio Banderas) has an unexpected reunion, decades later, with his onetime lover. In just a few scenes, the two convey the depth and breadth of a relationship, from beginning to inevitable end, and it helps provide the full picture of Salvador, an artist whose past provides the possibility of unlocking his creative block.

“Take Me to the River” (2014)
What starts out as a dark comedy about a gay California teenager forced to attend a family reunion in Nebraska unfurls into an unsettling thriller about family secrets and unresolved longings. Writer-director Matt Sobel subtly but inexorably tightens the vise, and it’s not until the closing credits roll that you allow yourself to exhale fully again.

“Tangerine” (2015)
A Christmas Eve in the lives of two trans sex workers (played memorably by Mya Taylor and Kitana Kiki Rodriguez) provides a glimpse into both the grind of their day-to-day existence and their hopes and dreams. The leads consulted on the script, and the results are both quotidian and poetic.

“Weekend” (2011)
Writer-director Andrew Haigh (“45 Years”) starts with a simple premise — two guys meet and hit it off, just as one of them is about to leave the country — and turns it into a riveting two-hander, with Tom Cullen and Chris New capturing those moments of connection and curiosity and chemistry that mark the beginning of every new relationship, even as we know this one will end before it can even really start. | 12/13/19

In the latter years of her filmmaking career, Agnès Varda — a giant of the French New Wave of the 1960s — integrated herself more and more into her work, becoming a central character in acclaimed documentaries like “The Gleaners and I” and “Faces Places,” not to mention the autobiographical “The Beaches of Agnès,” which she made to mark her 80th birthday.

As someone accustomed to telling the story of her life on film, it’s not surprising that she ended her career by creating her own memorial: “Varda by Agnès” premiered at the 2019 Berlinale, just one month before she died at the age of 90. This final film acts as a perfect button to a legendary life in art, and it’s also a launchpad to viewers who want to go back and explore her groundbreaking contributions to the cinema.

Structurally, “Varda by Agnès” is built upon a series of lectures she gave, showing clips from her work and occasionally bringing out collaborators like “Vagabond” star Sandrine Bonnaire — she and Varda have a conversation under umbrellas in the middle of one of the film’s rural fields — or cinematographer Nurith Aviv, who shot several of Varda’s 1970s documentaries.

Also Read: Agnès Varda Appreciation: She Had Endless Curiosity About People and Filmmaking, And It Shows

But the film is edited so masterfully by Varda and Nicolas Longinotti that it never feels stagebound; we’re constantly being whisked away to one of her narrative features, or learning the inspiration behind various documentaries, or suddenly finding ourselves in Los Angeles, where she made several films (including “Murs Murs” and a documentary about the Black Panthers). We also get to witness the creation of some of the many gallery installations that Varda created in the latter portion of her career.

It’s her work creating multi-media installations that will no doubt be a revelation to many; if you weren’t lucky enough to be in a city with a museum that brought in Varda’s artwork – including a “cabane du cinéma,” a steel framework of a house where the walls and roof were made of strips of 35mm film from one of her features – this film offers a fascinating glimpse at various larger pieces she created.

Also Read: Agnes Varda, French New Wave Film Director, Dies at 90

We also get a look at her photography, another facet of her talent that directly and indirectly plays a key role throughout her life; she seems as proud and interested of her shots of neighbors and passersby on the street as she is of her portraits of Le Corbusier and Fidel Castro.

This is by no means a dry recitation of “and then I made this,” since Varda leaps back and forth in time, reminded of an older movie by one of her more recent ones, and vice versa. Anyone who has seen her recent films knows that she is a fascinating presence on camera, warm and funny, insightful and perceptive.

Also Read: Agnes Varda Remembered As Influential Director Who 'Lived Fully for Every Moment'

And, true to the discussions in her film “One Sings, the Other Doesn’t,” about the added domestic labor expected of working women, here she only glancingly mentions her husband, fellow filmmaking legend Jacques Demy, or their children, usually only when they were directly involved in her work. They are important in her life, to be sure, but this film is about her life in art. She does discuss making the biographical “Jacquot” while Demy was dying, but doesn’t talk about her Herculean efforts toward the preservation and restoration of his filmography, as well as her own.

“Varda by Agnès” makes a fascinating roadmap to a life and to a career in art, offering inspiration both for viewers and for fellow creators. And if it also prompts more directors over the age of 80 to write their own cinematic eulogies, so much the better.

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French premium format movie company ICE Theaters is expanding into the U.S. with its first location at Regal/AEG’s L.A. Live cinema, which will open December 12 with the release of Sony’s “Jumanji: The Next Level.”

Launching in Europe in 2016, the ICE format — short for Immersive Cinema Experience — boasts non-reflective LED panels that match the color palette of the feature film and fill the audience’s peripheral vision. Luxury recliners surround sound technology and RGB laser projection are also included in the format.

Also Read: Nick Jonas Rides In to Save the Day in Latest 'Jumanji: The Next Level' Trailer (Video)

CGR Cinemas, the French exhibitor that first introduced the ICE format, said that the 35 locations in France that have an ICE theater, box office revenue for films supported by the format doubled those of standard screens. The L.A. Live location is the first ICE theater opened outside of France, with locations planned for theaters in Saudi Arabia and Northern Africa through a deal with VOX Cinemas.

ICE Theaters is entering the American premium format market at a time when more audiences are giving premium large formats (PLF) like 4DX and ScreenX a try when going to see major blockbusters. The top PLF company, IMAX, reports that it is on pace for its highest global annual grosses ever in 2019 thanks to blockbusters like “Avengers: Endgame” and the release of “Star Wars: The Rise of Skywalker” later this month.

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Spyglass Media and Eagle Pictures have teamed up to produce an English-language adaptation of Paolo Genovese’s Italian film “Perfetti Sconosciuti,” with “Insecure” star and co-creator Issa Rae attached to write, produce and star in the comedy.

The film, “Perfect Strangers,” centers around a dinner party in which a group of friends decide to play a risky game where they place their phones face-up on the table and agree to make all texts and phone calls public in an attempt to prove they have nothing to hide. The film takes a comedic approach to dealing with the friendship, love and betrayal that forces the friends to confront the fact that they may actually be “perfect strangers.”

“I’m really looking forward to bringing this funny and compelling story to a new demographic and could not be happier about partnering with the Spyglass team to make it happen,” Rae said in a statement. “I loved the original film and think the story will resonate with audiences here as well.”

Also Read: Issa Rae to Produce Reimagining of 'Set It Off' for New Line

The original Italian version, “Perfetti Sconosciuti,” was released in 2016. A number of local-language remakes followed the film’s initial release, including in China, Spain, Russia, France, and Korea. The Italian film won two David di Donatello Awards for best film and best screenplay as well as the best screenplay for an International Narrative Feature at the Tribeca Film Festival.

Spyglass is banking that Rae, who has become one of Hollywood’s premiere creators, will bring her signature style to the adaptation. Rae has received critical praise, including Emmy and Golden Globe nominations for her HBO series, “Insecure,” which is set to return in 2020.

“Issa is the perfect choice to adapt Paolo Genovese’s brilliant film given her bold and comedic authenticity,” Spyglass’s vice president of development and production Chris Stone said in a statement. “As one of the most sought-after creative talents, we are excited to see Issa’s vision come to life.”

Also Read: Spyglass TV Nabs Stephen King's 'The Institute' With David E Kelley and Jack Bender Attached

Rae will next star in Universal’s romantic drama, “The Photograph,” which is set to hit theaters in February 2020. She’ll also star in the 2020 romantic comedy  “Lovebirds” with Kumail Nanjiani.

Principal photography on “Perfect Strangers” is expected to start in the early part of next year. The film is being produced by Spyglass and Eagle Pictures, as well as 3 Marys Entertainment, alongside Rae.

Issa Rae Productions’ Montrel McKay will executive produce. Chris Stone will oversee production on behalf of Spyglass and Tarak Ben Ammar, chairman and owner of Eagle Pictures, will oversee the film on behalf of Eagle.

“I am proud to be working alongside our partners at Spyglass and the immensely talented Issa Rae on this socially resonant and provocative comedy that not only became a success in Europe,  but went on to capture the attention of audiences around the globe,” Ben Ammar said in a statement.

Also Read: David S Goyer to Write and Produce Clive Barker's 'Hellraiser' Redo for Spyglass

Spyglass was launched earlier this year by former MGM CEO Gary Barber, in partnership with Lantern Entertainment co-presidents Andy Mitchell and Milos Brajovic. Lantern recently bought the assets of The Weinstein Co. out of bankruptcy, making Spyglass now the home to more than 250 film library titles, scripted and unscripted TV series, such as “Project Runway,” as well as Academy Award winners “The King’s Speech” and “The Artist,” and box office hits “Inglourious Basterds,” “Silver Linings Playbook,” “The Hateful Eight” and “Django Unchained.”

Spyglass has strategic investment backing from Warner Bros, Eagle Pictures; the largest independent distributor in Italy, and Cineworld Group.

Rae is represented by UTA, 3 Arts Entertainment and attorney John Meigs.

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"Will other women come forward?" Metropolitan Films from France has released a third (and likely final) trailer for the movie Bombshell, opening in US theaters later in December, coming up in just a few more weeks. This is the film about the few brave women who decide to take on Fox News boss Roger Ailes and the toxic male culture he presided over at the propaganda network. Based on the true story, the actual real-world scandal, and how it all went down. Early word so far about this movie is good, very good. Bombshell stars Charlize Theron as Megyn, Nicole Kidman as Gretchen, Margot Robbie as Kayla, plus John Lithgow, Kate McKinnon, Connie Britton, Mark Duplass, Rob Delaney, Malcolm McDowell, and Allison Janney. Looks like an even more provocative, spunky Spotlight with a dash of The Big Short. Here's the newest international trailer for Jay Roach's Bombshell, direct from Metropolitan's YouTube: You can still watch the first teaser trailer for Jay Roach's ...

It’s that time of year, as voters head off on a long weekend with stacks of newly arrived screeners and one big question: Which film should I share with the family over Thanksgiving weekend? The kids could go for “Frozen II,” the adults will get a kick out of “Dolemite Is My Name” and you might find some middle ground with “A Beautiful Day in the Neighborhood.”

But then there’s “1917,” which actually arrived in the mail for some voters on Tuesday, three days after its first screenings and weeks before its theatrical release. Would you dare watch that epic on a TV set?

While Academy and guild member ponder those questions, here are 10 things I’m thankful for this awards season.

1. The field is now set.
It’s true we haven’t seen everything yet. Among big movies that could conceivably figure in the awards race, particularly in categories like music, visual effects and sound, we still have “Cats” and “Star Wars: The Rise of Skywalker.”

But the last “Star Wars” movie to be nominated for Best Picture was the first one, and “Cats” is, well, “Cats.” So I’m going to figure that we’ve now seen everything that’s really in contention, that the smashing unveiling of “1917” over the weekend was the last hurrah for major Oscar contenders. And I’m going to be thankful for that.

Also Read: New 'Cats' Trailer: Judi Dench, James Corden and Jason Derulo Are Ready to Dance on 'A Magical Night' (Video)

“1917” / Universal Pictures

2. We don’t know what’s going to happen.
Uncertainty is good for an Oscar race, and we definitely have it this year. “1917” is great and will receive loads of craft nominations, but it’s a war movie — is it too divisive to win? Will the three-and-a-half-hour length of “The Irishman” work against it when voters pop in the screener? Can Sony find a way to give “Once Upon a Time … in Hollywood” some awards momentum months after it opened? Can “Parasite” legitimately contend for Best Picture when voters can easily give it Best International Feature and feel as if they’ve honored it enough?

I don’t know the answers to those questions, and I don’t think anybody else does, either. And that’s good.

3. It’s another strong year for international cinema.
Yes, lots of attention has gone to the disqualification of two films from the Oscars Best International Feature race, though the fuss over the ineligibility of “Lionheart” and “Joy” shouldn’t have been “Should the Academy have disqualified them?” (under existing rules, it had to) but “Should the rules be changed for next year?” (The answer to that one is no: Admitting English-language films to the race will hurt small countries, not help them.)

Despite that furor, 2019 has been a strong year for movies that aren’t in English. South Korean director Bong Joon Ho’s “Parasite,” of course, is the monster in the race, but it’s hardly the only one that will be looking to compete in mainstream Oscar categories. Pedro Almodóvar’s “Pain and Glory” is magnificent, with Antonio Banderas deserving widespread recognition for his performance as a director who isn’t Almodóvar but is a lot like him. “Les Misérables” and “Atlantics” are getting lots of attention as well, and so is “Portrait of a Lady on Fire,” which isn’t France’s Oscar submission (“Les Mis” is) but nonetheless warrants notice.

Last year, 14 of the 24 Oscar categories included at least one nominee not in English. And maybe the Academy has truly gotten so accepting of international cinema — and so international in the makeup of its membership — that something similar could happen this year.

Also Read: 'Les Misérables' Director Ladj Ly on Gritty Paris Drama's Real-Life Inspirations

“Uncut Gems” / A24

4. Indie directors are stepping up and getting recognized.
Robert Eggers had only made one horror movie before “The Lighthouse.” The Safdie brothers were indie darlings before “Uncut Gems.” Marielle Heller came out of Sundance and “The Diary of a Teenage Girl” before working with Melissa McCarthy (on last year’s “Can You Ever Forgive Me?”) and now with Tom Hanks on “A Beautiful Day in the Neighborhood.” Noah Baumbach was a quintessential New York indie director before slowly building up to “Marriage Story,” and “Little Women” auteur Greta Gerwig was a mumblecore queen not too long ago.

There’s a lot of vitality in this year’s films, and much of it is coming from filmmakers who have come from the indie world. Standing alongside Scorsese and Tarantino, they’ve given 2019 a shot of energy.

5. Real supporting actors are out there if you look hard enough.
If you look at the Oscar race for Best Supporting Actor, you can be forgiven for thinking that the Academy has arrived at a very loose definition of the word supporting. Brad Pitt in “Once Upon a Time … in Hollywood,” Al Pacino and Joe Pesci in “The Irishman,” Tom Hanks in “A Beautiful Day in the Neighborhood,” Willem Dafoe in “The Lighthouse” and Anthony Hopkins in “The Two Popes” are really co-leads who are being campaigned in the supporting category to improve their chances and because there’s another guy in their movie with a marginally bigger role.

And they’re all great, but can we take a moment to be thankful for actors who really serve a supporting role in their films? I’m thinking of Wesley Snipes in “Dolemite Is My Name,” Alan Alda in “Marriage Story,” Aldis Hodge in “Clemency,” Rob Morgan in “Just Mercy” and Song Kang-ho in “Parasite,” though there are plenty of other options as well. (Kyle Buchanan had his own list in the New York Times last week.)

One thing for the quasi-supporting frontrunners to not be thankful for: the note on Oscar acting ballots that tells voters to put a performance in whatever category they think fits, regardless of how a performance is being campaigned. But truth be told, voters usually go along with the campaigners’ suggestions.

Also Read: 'Parasite' Director Bong Joon Ho and Cast OscarWrap Portraits (Exclusive Photos)


6. Joe Pesci is back.
I don’t know if he’s lead or supporting in “The Irishman.” I just know that he hadn’t been in a movie in years when Martin Scorsese talked him into appearing alongside Robert De Niro, Al Pacino and Harvey Keitel in his new film. And I know that the guy known for playing loudmouths and loose cannons dialed it down and delivered an unforgettably quiet but sinister performance that might just be the best thing in the movie.

So thanks, Joe. And thanks for talking him out of retirement, Marty.

7. Terrence Malick is back, too.
He never actually left; in fact, the veteran director has made more movies in the past decade, six, than in the previous 37 years combined, when he made four. (And his 2010s total is seven if you count the two different versions of his documentary “Voyage of Time.”)

But his new movie, “A Hidden Life,” still feels like a comeback of sorts. It feels as if I’m damning it with faint praise to say it’s his best film since “The Tree of Life” (although I really liked the longer version of “Voyage of Time”), but it’s far more than that: It’s prime Malick, a rapturous reverie that is also tied to a stronger storyline than he’s had in years. And it feels like a true gift from a master.

Also Read: 'A Hidden Life' Stars Valerie Pachner and August Diehl on the Full Immersion of a Terrence Malick Film | Video


8. Lina Wertmüller is still around.
The Italian director of “The Seduction of Mimi,” “Swept Away” and “Seven Beauties,” the last of which made her the first woman ever nominated for Best Director, is now 91. She is also funny and feisty, as became clear when she appeared at the Academy’s Governors Awards in October to accept an Honorary Academy Award. On a night that also honored David Lynch, Geena Davis and Wes Studi, Wertmüller was the undisputed queen of one of the best, loosest and most spirited Governors Awards ceremonies ever.

Let’s hope she makes a return trip to the Oscars in February to renew her complaint that the Oscar is a male figure and to continue her lobbying for a female counterpart, the Anna.

Also Read: 91-Year-Old Lina Wertmuller Steals the Show at Oscars Governors Awards

9. Major studios are not just in the franchise business.
“Once Upon a Time … in Hollywood,” “Little Women” and “A Beautiful Day in the Neighborhood” were released by Sony. “1917” is from Universal, which won the Oscar last year with “Green Book.” “Ford v Ferrari” was made for Fox, which now places it in the Disney family. “Joker” and “Motherless Brooklyn” are from Warner Bros., “Rocketman” from Paramount.

Yes, Netflix is at the center of this year’s awards races with “The Irishman,” “The Two Popes,” “Marriage Story” and “Dolemite,” and indie distributors like Neon (“Parasite”) and A24 (“The Farewell,” “Uncut Gems,” “The Lighthouse”) are in the thick of the competition as well. But at a time when major studios are often accused of doing nothing but commissioning sequels and riding franchises, it’s nice to see that the majors still have a significant stake in the awards business, too.


10. It’ll be over sooner than usual.
It was hard to be thankful for this year’s earliest-ever Oscars date back in October, when the race suddenly heated up earlier than usual. It’ll be really hard to feel much appreciation for the shortened season on Jan. 7, when the Directors Guild, Producers Guild and BAFTA all announce their nominations, or on Jan. 25, when five different awards shows will take place simultaneously on the first Saturday of the Sundance Film Festival.

But on Feb. 10, the day after the Academy Awards take place, it’ll be easy to thank the Academy for a shorter season, and for a vacation that will arrive two weeks earlier than usual.

So while I’m not exactly thankful for the accelerated season now, I’m looking forward to being thankful for it later.

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“Frozen II,” Disney’s follow-up to the pop culture phenomenon “Frozen” from 2013, brought in $8.5 million at the box office in Thursday night previews beginning at 6 p.m. It opens on over 4,300 screens this weekend.

The fall box office is finally set to heat up with the arrival of “Frozen II,” which the studio is projecting for an opening in the $100 million range, with trackers saying it should land between $105-115 million, though it could rise to $130 million if the excitement is as high as some trackers suspect. It opens opposite “A Beautiful Day in the Neighborhood,” which stars Tom Hanks as Mister Rogers, and the thriller “21 Bridges” starring Chadwick Boseman, both of which go wide in the last weekend before Thanksgiving.

“Frozen II” already soared past all-time records for animated films in pre-sales on the ticketing site Fandango. So the comp to watch is “Incredibles 2,” which hit a Thursday preview record for an animated film when it made $18.5 million in its Thursday previews last summer ahead of a $183 million opening weekend total. But it landed closer to “Finding Dory,” which was the previous animation record-holder and did $9 million in previews before opening to $135 million.

Also Read: How 'Frozen II' Songwriters Stopped Thinking About 'Let It Go' to Write Songs for the Sequel

You could also look at Disney Animation’s “Zootopia,” which did just $1.7 million in previews and opened to $75 million, or for a more recent comp, “Toy Story 4” made $12 million and opened to $120.9 million domestically. The comparisons to both “Moana” and “Ralph Breaks the Internet,” the other two recent Disney Animation titles, is more difficult seeing as Disney moved up the release of “Frozen II” to a week ahead of the Thanksgiving holiday.

Internationally, “Frozen II” also opened to $18.6 million across 26 markets and was the number one title in all of them. It also posted the highest animated opening day of all-time in Korea, Indonesia, Turkey, Philippines, Malaysia, Saudi Arabia and the United Arab Emirates. So far the key markets it has opened in include Korea, France and Germany.

Anna, Elsa, Olaf, Kristoff and Sven are back for another animated adventure in the Kingdom of Arendelle, as the group travels to a hidden, magical forest that may contain secrets about their past and hold the key to saving Arendelle’s future.

“Frozen II” is directed by Chris Buck and Jennifer Lee, and Kirsten Bell, Idina Menzel, Jonathan Groff, Josh Gad all returned to the voice cast. The film’s newcomers are Evan Rachel Wood, Sterling K. Brown, Jason Segel, Martha Plimpton, Ciarán Hinds, Rachel Matthews and Alfred Molina. Critics have been somewhat more muted on the new “Frozen,” as the film has a 77 percent fresh score on Rotten Tomatoes, compared to the original’s 90 percent. However, it still has a 94% verified audience score from Rotten Tomatoes and a 4.5 out of 5-star rating from ComScore’s PostTrak ratings system among general audiences and kids.

Also Read: 'Frozen II' Film Review: Elsa Belts Again in Entertaining, Unnecessary Sequel

“A Beautiful Day in the Neighborhood,” which is based on a true story surrounding the life of Fred Rogers, made $900,000 at the Thursday box office from 2,865 screens at previews beginning at 4:30 p.m.

Sony Pictures is releasing the Mister Rogers movie starring Tom Hanks and Matthew Rhys and is projecting an opening of $14 million, with independent trackers saying it could go to between $17-20 million. The film is a mid-budget movie and an awards hopeful for Hanks especially.

“Can You Ever Forgive Me?” director Marielle Heller helms the story of a jaded journalist at Esquire magazine in the 1990s who is assigned to write a profile on Mister Rogers and finds his life transformed by Rogers’ sincerity and charm. It currently has a 97% score on Rotten Tomatoes and should perform well into the Thanksgiving holiday.

Also Read: Tom Hanks Had to Chill 'Boisterous' Charm to Play Mister Rogers, Movie Director Says

Finally, STXfilms’ “21 Bridges” starring Chadwick Boseman made $700,000 in its Thursday night previews. It opens on 2,665 screens this weekend. Comparisons include “Widows,” which took in $572,500 before opening to $12.3 million, or Focus Features’ “Harriet” from earlier this month, which had $600,000 in previews and opened to $11.6 million.

It is a mid-budget movie of approximately $33 million that’s poised to open between $12-14 million. STX is hoping to cash in on the pedigree of “Avengers: Endgame” directors Anthony and Joe Russo, who produced the thriller that features “Black Panther” star Boseman.

Boseman plays a detective in New York who puts the entire city on lockdown in order to track two suspected cop killers (Stephan James and Taylor Kitsch). Sienna Miller, Keith David, and J. K. Simmons also star in the film, which is directed by Brian Kirk from a script by Matthew Michael Carnahan and Adam Mervis. The film is a production of STXfilms, MWM Studios and Huayi Brothers Pictures.

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A version of this story about “The Whistlers” first appeared in the International Film issue of TheWrap’s Oscar magazine.

Director Corneliu Porumboiu was a central member of the influential New Romanian Cinema, which has shockingly been completely ignored by Oscar voters. His new film, “The Whistlers,” is his second to represent that country in the Oscar race after his deadpan, talky 2009 film “Police, Adjective.” Porumboiu discussed his new movie, a wry film noir about a detective on one of the Canary Islands, where the residents have perfected a language that consists entirely of whistling.

I know this film was inspired when you saw something on TV about the whistling language on the island of La Gomera, but how did you get from that to this particular story?
It took 10 years. It was TV reportage about the island, and at one point they showed something about the whistling language. I got interested right away. I had just finished “Police, Adjective,” and after that I start to read things about the language. After two or three years I spoke with a friend of mine who was on the island who knew some teachers, and I went to the island and I saw the classes where they teach the language.

I was all the time interested to have in the center of the film the process of whistling. I wanted to make a film about a guy who was going to learn the language to do something bad, and after that this language became more important to him. All the time I was thinking, “Let’s do this film with this second character from ‘Police, Adjective’ — someone who in his ideology can’t last.”

Also Read: 'The Whistlers' Film Review: Romanian Wild Ride Runs on Black Humor

Was it always clear that this was going to be a genre movie, a film noir?
When I decided to make a movie about people double-crossing each other, I said, “OK, I have to re-see noir films.” “The Big Sleep,” I like a lot. Also “The Maltese Falcon,” “Gilda,” “Double Indemnity,” “The Third Man,” “Notorious,” “The Night of the Hunter” … But I think “The Big Sleep,” mostly, because I wanted the story to be quite messy in the middle for the audience. The character thinks all the time that he’s in control, but he’s not. And maybe the whistling language could clarify things for him.

The film can be very funny, but it’s a deadpan, dry humor.
I had some funny dialogue scenes that I cut. The first draft was 40 minutes longer, and I took out a lot of scenes. Trying to keep a certain type of structure, to be more with action, I had to cut. So I had quite good dialogue scenes of humor that I cut. I’ll use them in another film.

Also Read: Oscars International Race 2019: Complete List of Films

This was your biggest budget film. Did you run into challenges because of its scale?
Yes, yes. We shot in Spain, but we didn’t find the money there. We found money in Germany, Romania, France and Sweden, and I had to do parts of the film or the postproduction in all those countries. Of course that brought new challenges. And also, it was the first time I had fighting scenes and shootouts, but I liked to do that.

Does it seem as crazy to you as it does to some of us that Romania has never even been nominated for an Oscar in the international category?
Yeah, I don’t know, I think the Romanian cinema in the last 15 years is quite present in festivals and all around the world, but I don’t know. For me, it’s my second time as the Romanian submission. That first one, “Police, Adjective,” I think was quite hard to be nominated. Let’s see with this one.

Read more from the International Film issue of TheWrap’s Oscar magazine.

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This weekend saw “Joker” become the first movie with an R rating to gross $1 billion at the box office. That alone is enough to immortalize it in the comic book movie canon. But when compared to some of the big DC and Marvel tentpoles that have defined the movie ecosystem over the past few years, it’s amazing how Gotham City’s most infamous villain has beaten the superheroes at their own game.

To show just how special “Joker”‘s box office run has been, we have compared its domestic and overseas performance to a small sample of comic book movies that it has passed on the all-time charts:

– “Justice League,” a film featuring all of DC’s biggest superheroes

– “Batman v Superman: Dawn of Justice,” a DC film with a similarly dark tone to “Joker”

– “Suicide Squad,” the last DC film to feature a version of the Joker

– and “Thor: Ragnarok,” a Marvel film released in autumn that was a hit with audiences.

Also Read: Why 'Joker' Has Outperformed All Other R-Rated Films at the Box Office

Against those four films, “Joker” had an $96.2 million opening well below that of the latter three and only slightly above the $93.8 million start of “Justice League.” But as you can see in the chart below, “Joker” has lasted longer with audiences than any of those films and is on the verge of passing the entire domestic run of “BvS.”

This is partly because “Joker” has taken advantage of weak competition. Films like “Maleficent: Mistress of Evil” and “Terminator: Dark Fate” haven’t made a big splash with audiences, allowing “Joker” to sustain its status as the sole can’t-miss film a lot longer than our current, content-overloaded pop culture allows a lot of movies to have.

But of course, that required “Joker” to strike a chord loud enough to have such can’t-miss status to begin with. As we noted last month, “Joker” was able to hit that increasingly rare sweet spot between pop culture phenomenon and critical darling. Its big Venice win and fears of triggering real life violence kicked pre-release buzz into overdrive, and the overwhelmingly strong response from the usual comic book movie crowd spilled over into the general moviegoing populace, allowing it to linger in the top 5 for over a month.

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But that’s only half of the story. What makes “Joker” a truly special box office hit is that unlike many of its comic book brethren, it grossed $1 billion without the aid of China.

Instead, it vastly overperformed in many other major markets, showing the same kind of long-lasting performance all over the world that it did in the U.S.. In the next chart, you can see how “Joker” and the four films we chose stacked up in “Joker”‘s five highest grossing international markets: United Kingdom, Mexico, Japan, France and Germany.

Not only does “Joker” have totals that dwarf those of all the others — including $70 million in the U.K. — it also beat the other DC film that grossed $1 billion in the past year: “Aquaman.”

With “Frozen II” kicking off the holiday movie season early next weekend, it’s likely that “Joker” will see its final global total fall short of the $1.14 billion that “Aquaman” grossed last winter. But even if that happens, it’s only because “Aquaman” had a Chinese release and “Joker” didn’t. Take away the $291 million that “Aquaman” grossed in the Middle Kingdom, and its global total drops down to $857 million.

It’s difficult to say whether “Joker” can become a trendsetter when it comes to comic book movies, but it certainly has pushed the boundaries on what can be done with the genre and what global audiences will respond to.

Also Read: 'Joker' Takes R-Rated Box Office Record...and Possibly Another No. 1 Weekend

Following the critical disappointment of “Batman v Superman” and “Justice League,” much discussion was had about the “grimdark” tone that DC Films was using towards its superheroes. But while films like “Wonder Woman” and “Shazam!” have pushed the heroes in a more hopeful direction, a “grimdark,” Scorsese-inspired tale about a DC villain was embraced by audiences as something unique and fresh.

And unlike the other $1 billion-plus superhero hits — even the “Avengers” films — “Joker” did it all on a mid-sized budget. With a production cost reported to be in between $55-70 million, “Joker” has provided Warner Bros. with one of the biggest returns on investment in blockbuster history. Even as other WB films like “The Kitchen,” “Motherless Brooklyn” and “Doctor Sleep” have flopped this autumn, “Joker” has joined forces with “It: Chapter Two” to erase any financial losses those films may have incurred.

It may be a good while before we see a box office run from an R-rated film like this again.

Related stories from TheWrap:

'Joker' Crosses $1 Billion at Global Box Office

Why 'Joker' Has Outperformed All Other R-Rated Films at the Box Office

'Justice League': Gal Gadot, Ben Affleck Join Call to #ReleaseTheSnyderCut | 11/18/19

This Veterans Day, take a moment to honor someone who took the time out to serve our country in the military. And barring that, watch a film or show featuring one of these Hollywood stars who will most definitely be celebrating Veterans Day on Monday. Some of the actors on this list have military careers that date all the way back to World War II. And while this list excludes celebrities who have passed away, including people like James Stewart, Elvis Presley and Bea Arthur, there’s more than enough patriotism on this list to go around.

Adam Driver

Adam Driver joined up in the Marines shortly after 9/11 and served for two years and eight months before being medically discharged after suffering a mountain biking accident. He was assigned to Weapons Company, 1st Battalian, 1st Marines. And though he was never deployed, he did get a nickname from his fellow Marines: “Ears Two.” He explained to Stephen Colbert that he was one of two guys in his battalion with big ears, but that he avoided most of the verbal ridicule. He told The Guardian how serving changed his outlook on life. “There’s something about going into the military and having all of your identity and possessions stripped away: that whole clarity of purpose thing. It becomes very clear to you, when you get your freedom back, that there’s stuff you want to do.”

Clint Eastwood

Though he’s more well known as a Western cowboy, Clint Eastwood was drafted into the Korean War and served as a lifeguard while training at Fort Ord in California. He was discharged in 1953 and was able to attend acting school during his tenure thanks to the G.I. Bill.

Morgan Freeman

Morgan Freeman actually turned down a partial scholarship for acting and instead opted to join the Air Force. For nearly four years between 1955 to 1959, he served as a radar technician and rose to the rank of Airman 1st Class. He told AARP magazine (via that he felt as though he were sitting “in the nose of a bomb” once he finally trained to fly a fighter plane. “You are not in love with this; you are in love with the idea of this,” Freeman said.

Chuck Norris

Chuck Norris joined the U.S. Air Force as an air policeman beginning in 1958, eventually being sent to Osan Air Base in South Korea. It was there he developed his signature martial arts form, the Chun Kuk Do. He was later discharged in 1962.

Tom Selleck

The “Magnum P.I.” actor Tom Selleck served in the California Army National Guard between 1967 to 1973.


In an effort to support his girlfriend and newly born daughter, Ice-T enlisted in the military to get off the streets and found himself stationed in Hawaii in the 25th Infantry Division between 1977 to 1979. It was there he started meeting people who helped inspire his music career as a rapper.

Tony Bennett

The famed Italian singer Tony Bennett, now in his ’90s, was drafted to serve in World War II in Nov. 1944, and by March of 1945, he was sent to the front line through France and into Germany as part of the 63rd Infantry Division, better known as the “Blood and Fire” division. In his autobiography “The Good Life,” Bennett recalled the experience as having a “front row seat in hell.”

Rob Riggle

Comedian Rob Riggle served in the Marines for 23 years, first joining up in 1990 when he said he would rather be a “Top Gun” pilot than be a waiter. He served in Kosovo, Liberia, Afghanistan and Albania during his time, becoming a decorated lieutenant colonel in the process. And though he wanted to enter into flight school, he realized it would hinder his dream of one day doing comedy. “I stopped flying, became a ground officer, had a short contract, fulfilled my contract and pursued comedy and acting,” Riggle told CBS News. “I stayed in the reserves though and did the reserves for the last 14 years. And I just retired in January from the Marines. This is a great country, you can do it all.”

Robin Quivers

Robin Quivers, a co-host on Howard Stern’s radio show, rose to the rank of captain while enlisted in the U.S. Air Force between 1975 and 1978. She was discharged shortly after, but remained a member of the reserve with no active duty until 1990, according to the biography “Howard Stern: King of All Media.”

Zulay Henao

Colombian-American actress Zulay Henao served three years in the U.S. Army, telling Maxim she joined up right after high school and immediately felt the pressure of basic training at Fort Bragg. “it was miserable. I quickly realized I’d have to change my attitude if I was going to get through it. I’ve always tried to make the most out of my experiences, but that one was tough,” she told Maxim.

Kirk Douglas

Kirk Douglas had a brief stint in the U.S. Navy, joining up shortly after America entered World War II, serving on a submarine between 1943 and 1944, according to CNN.

James Earl Jones

Though he was recruited during the most active time during the Korean War and eventually to the rank of first lieutenant, James Earl Jones was stationed at a cold-weather training command base in Leadville, Colorado beginning in 1953.

Gene Hackman

Gene Hackman said on an episode of “Inside the Actors’ Studio” that when he was 16, he lied about his age and enlisted in the marine corps in 1946. He spent four and a half years as a field radio operator and was stationed in China for a time before being assigned to Hawaii and Japan.

Mel Brooks

The comedy legend Mel Brooks served in World War II as a combat engineer, defusing land mines as a corporal in the 1104 Engineer Combat Division. “I was a combat engineer. Isn’t that ridiculous? The two things I hate most in the world are combat and engineering,” Brooks joked to “War isn’t hell… War is loud. Much too noisy. All those shells and bombs going off all around you. Never mind death. A man could lose his hearing.”

Robert Duvall

Robert Duvall may be known for his Vietnam War movie “Apocalypse Now,” but he did briefly serve in the Army shortly after the Korean War, even acting in plays while stationed in Camp Gordon in Georgia. He served two years and left as a private first class. He did have to clarify the extent of his service however, telling People in 1984 (via, “Some stories have me shooting it out with the Commies from a foxhole over in Frozen Chosen. Pork Chop Hill stuff. Hell, I barely qualified with the M-1 rifle in basic training.”

Drew Carey

Drew Carey still has his crew cut and signature glasses that he first started wearing back in his Marine Corps days when he served as a field radio operator in the 25th Marine Regiment in Ohio. The comedian served for six years and has frequently given back to the military in the form of performances for the USO.


The comedian Sinbad told Ebony magazine that he nearly had a dishonorable discharge for going AWOL while he was serving in the air force as a boom operator, including frequently leaving to perform stand-up comedy and because he failed to make the Air Force basketball team.

Sidney Poitier

Sidney Poitier lied about his age to enlist during World War II and wound up in a VA hospital in Northport, New York, serving for a year before obtaining a discharge in 1944.

Alan Alda

While best known as a military doctor on “M.A.S.H.,” Alda completed a minimum six-month tour of duty in the Korean War as a gunnery officer.

Oliver Stone

Director Oliver Stone’s combat experience in Vietnam directly contributed to his films “Platoon” and “Born on the Fourth of July” that would become staples of his career. Stone served in the Army for over a year between 1967 and 1968 and was even wounded twice in battle. He’s been honored with a Bronze Star with “V” device for heroism in ground combat and a Purple Heart with an Oak Leaf Cluster. | 11/8/19

Magnolia Pictures has acquired the U.S. rights to “About Endlessness,” a Swedish drama from director Roy Andersson, the distributor announced Monday. Magnolia plans to release the film theatrically in 2020.

Andersson, the director of “You, The Living” and “A Pigeon Sat on a Branch Reflecting on Existence,” won Best Director at the Venice International Film Festival where the film made its premiere. It made its North American premiere at TIFF.

His latest film, “About Endlessness,” is a reflection on human life in all its beauty and cruelty, its splendor and banality. We wander, dreamlike, gently guided by our Scheherazade-esque narrator. Inconsequential moments take on the same significance as historical events: a couple floats over a war-torn Cologne; on the way to a birthday party, a father stops to tie his daughter’s shoelaces in the pouring rain; teenage girls dance outside a cafe; a defeated army marches to a prisoner-of-war camp. Simultaneously an ode and a lament, “About Endlessness” presents a kaleidoscope of all that is eternally human, an infinite story of the vulnerability of existence.

Also Read: Participant and Magnolia Acquire Romanian Government Corruption Documentary 'Collective'

Magnolia released Andersson’s previous film, “A Pigeon Sat on a Branch Reflecting on Existence,” in 2015 which emulated the deadpan vignettes of his latest film but was geared more as a comedy.

“Roy Andersson is a cinematic master and he’s crafted another extraordinary film in ‘About Endlessness,'” Magnolia president Eamonn Bowles said in a statement. “We’re honored to be bringing this film to American audiences.”

“I’m so happy that Magnolia will be our U.S. distributor,” Andersson said. “They did a great job releasing my last film, so I’m confident that they will take care of ‘About Endlessness’ in the best possible way. I’m so proud of the new film and very much looking forward to the US release.”

Also Read: 'Joker' Wins Golden Lion, Roman Polanski's 'An Officer and a Spy' Wins Grand Jury Prize at Venice Film Festival

Andersson wrote and directed “About Endlessness.” The movie is a Roy Andersson Filmproduktion AB in co-production with 4 ½ Fiksjon AS, Essential Films, in association with Parisienne de Production, Sveriges Tele-vision AB, Arte France Cinéma, ZDF/Arte, and Film CapitalStockholm Fund.

The film is produced by Pernilla Sandström and Johan Carlsson and co-produced by Philippe Bober and Håkon Øverås. The executive producers are Sarah Nagel and Isabell Wiegand. The film is supported by Swedish Film Institute, Eurimages Council of Europe, Nordisk Film & TV Fund, Norwegian Film Institute, Film-und Medienstiftung NRW, and Medienboard Berlin-Brandenburg.

The deal was negotiated by Magnolia EVP Dori Begley and Magnolia SVP of acquisitions John Von Thaden with CAA Media Finance on behalf of the filmmakers. Coproduction Office is overseeing international sales.

Variety first reported the news of the sale.

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Jon Favreau has given a diplomatic response to the criticism of Marvel by legendary filmmakers Martin Scorsese and Francis Ford Coppola.

“These two guys are my heroes, and they have earned the right to express their opinions,” Favreau told CNBC on Tuesday. “I wouldn’t be doing what I’m doing if they didn’t carve the way. They served as a source of inspiration, you can go all the way back to Swingers. They can express whatever opinion they like.”

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola initially said about Marvel movies.

Also Read: Jeph Loeb to Exit as Head of Marvel Television

The “Apocalypse Now” filmmaker said those harsh words at a press conference after receiving a lifetime achievement award at the Lumiere Festival in Lyon, France. He is currently working on a utopian drama called “Megalopolis,” which he says would be more expensive than “Apocalypse Now” and be “the biggest budget I ever had to work with.”

But big budget Marvel movies draw Coppola’s ire. Speaking to reporters, he echoed Scorsese’s belief that comic book movies don’t reach the level of profound human depth that arthouse cinema does.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” he said. “I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Related stories from TheWrap:

After Coppola Slam, James Gunn Defends Marvel Movies as Cinema (Again)

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Once again, an icon of New Hollywood has panned Marvel movies. And once again, James Gunn has spoken out in defense of them.

The “Guardians of the Galaxy” filmmaker posted an Instagram post in response to Francis Ford Coppola’s comments at the Lumiere Festival in France this weekend. Coppola was asked whether he agreed with Martin Scorsese’s comments that Marvel movies were not cinema, and he went even further than “The Irishman” director went in his criticism.

Also Read: Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola said.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration. I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Gunn did not mention Scorsese or Coppola in his post by name, but did reference the latter’s use of the word “despicable” when noting that superhero films aren’t the first populist genre to receive derision from more artistic filmmakers.

“Many of our grandfathers thought all gangster movies were the same, often calling them ‘despicable,'” he wrote. “Some of our great grandfathers thought the same of westerns, and believed the films of John Ford, Sam Peckinpah, and Sergio Leone were all exactly the same.”

Gunn noted that his great uncle dismissed his excited reaction to “Star Wars” by comparing the iconic blockbuster film to Stanley Kubrick’s far more meditative “2001: A Space Odyssey,” which he called “boring.”

Also Read: James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

“Superheroes are simply today’s gangsters/cowboys/outer space adventurers. Some superhero films are awful, some are beautiful. Like westerns and gangster movies (and before that, just MOVIES), not everyone will be able to appreciate them, even some geniuses. And that’s okay.”

Gunn is currently filming the DC film “The Suicide Squad,” which will be released by Warner Bros. in 2021. After that, he is set to return to Marvel Studios to direct “Guardians of the Galaxy Vol. 3,” which currently has no set release date.

Also Read: Martin Scorsese Calls Out Marvel and Superhero Movies: 'That's Not Cinema'

Coppola, meanwhile, is continuing to work on “Megalopolis,” a utopian drama that he has been developing on-and-off for 20 years, and which he says would require a larger budget than the infamously expensive “Apocalypse Now.”

“I wanted to make a film about a human expression of what really is heaven on earth,” Coppola said this weekend.

“I would say it’s the most ambitious film (I’ve worked on) — more than ‘Apocalypse Now’. That’s the problem.”

Related stories from TheWrap:

Francis Ford Coppola: Scorsese Is Right About 'Despicable' Marvel Films

Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks | 10/20/19

If Marvel fans weren’t happy about Martin Scorsese saying Marvel movies aren’t cinema, they’re really not going to like what Francis Ford Coppola had to say about “Avengers” and its brethren.

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola said.

The “Apocalypse Now” filmmaker made those harsh words at a press conference after receiving a lifetime achievement award at the Lumiere Festival in Lyon, France. He is currently working on a utopian drama called “Megalopolis,” which he says would be more expensive than “Apocalypse Now” and be “the biggest budget I ever had to work with.”

Also Read: Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

But big budget Marvel movies draw Coppola’s ire. Speaking to reporters, he echoed Scorsese’s belief that comic book movies don’t reach the level of profound human depth that arthouse cinema does.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” he said. “I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Also Read: James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

This isn’t the first time Coppola has spoken against a major blockbuster franchise. In a 2015 interview during the Marrakech International Film Festival, he lamented that George Lucas ended up dedicating his whole career to “Star Wars” rather than smaller films like his early works “THX 1138” and “American Graffiti.”

“I think ‘Star Wars,’ it’s a pity, because George Lucas was a very experimental crazy guy and he got lost in this big production and never got out of it,” he said.

“I still hope that he made so much money out of it that he will just make some little movies. He promises me that he will.”

Related stories from TheWrap:

Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

Martin Scorsese Calls Out Marvel and Superhero Movies: 'That's Not Cinema' | 10/20/19

The nominees for this year’s Streamy Awards were announced Wednesday by Dick Clark Productions, Tubefilter and YouTube. David Dobrik leads the way with 11 nominations and murder-mystery reality web series “Escape the Night: Season 4” follows with five nominations.

Lil Nas X and Lizzo are both nominated for the first time.

The awards specifically celebrate the best in online video. This year’s ceremony, the ninth one, will be held Dec. 13 at the Beverly Hilton in Beverly Hills, California. It will stream live globally on YouTube.

“Creators are the heart and soul of YouTube, so we’re excited to celebrate and honor their creativity, diversity and hard work,” Jamie Byrne, director of creator partnerships at YouTube, said in a statement. “Together with the Streamys, we’ve expanded our award categories to even more regions around the world to bring fans some of the biggest and most unforgettable moments from the past year, all from the creators they love.”

See the full list of nominees below:

Creator of the Year
Collins Key
David Dobrik
Emma Chamberlain
Lilly Singh
Loren Gray
Safiya Nygaard
Simply Nailogical
Tana Mongeau

Show of the Year
Chicken Girls
Escape the Night: Season 4
The Game Master
Good Mythical Morning
Hot Ones
The Philip DeFranco Show
Red Table Talk
Tiny Meat Gang Podcast
The Try Guys


Action or Sci-Fi
Mordeo • CryptTV
Sam and Colby
Super Science Friends
Weird City

Andrei Terbea
Danny Casale

Breakout Creator
Danny Gonzalez
Joana Ceddia
Lizzy Capri

Anwar Jibawi
Gus Johnson
Hannah Stocking
Jack Douglass

The Brave • Great Big Story
BuzzFeed Unsolved Network
The Curse of Don’s Plum • New York Post
The Secret World of Jeffree Star • Shane Dawson
Stonewall: OutLoud • WOWPresents

First Person presented by GoPro HERO8 Black
David Dobrik
Emma Chamberlain
Simply Nailogical
Tana Mongeau

International: Asia Pacific
ACAU Youtube (Korea)
Fischer’s-???????- (Japan)
Kento Bento (Hong Kong)
RackaRacka (Australia)
Ti?n Zombie v4 (Vietnam)

International: Europe, Middle East, and Africa
Fozi Mozi (Palestine)
L’atelier de Roxane (France)
MarkAngelComedy (Nigeria)
Mikecrack (Spain)
Stacia Mar (Russia)

International: Latin America
Camila Loures (Brazil)
Enaldinho (Brazil)
enchufetv (Ecuador)
kevsho (Argentina)
Mis Pastelitos (Mexico)


Indie Series
Beef in Brentwood
Black Girls Guide to Fertility
Damaged Goods • VAM STUDIO
The Feels
Take One Thing Off • Scout Durwood

Scripted Series
Blame The Hero • Brandon Rogers
Chicken Girls • Brat TV
How To Survive a Break Up w/ Eva Gutowski • AwesomenessTV
Two Sides
You Decide • DeStorm Power

Unscripted Series
Escape the Night: Season 4 • Joey Graceffa
I Spent a Day With… • AnthonyPadilla
Middle Ground • Jubilee
Phone Swap
UNHhhh • WOWPresents


Brad Mondo
Jackie Aina
James Charles
Jeffree Star
Nikita Dragun

Kyle Hanagami
Matt Steffanina
Nicole Laeno
WilldaBeast Adams

Koleen Diaz
Sierra Schultzzie
With Love, Leena

Binging with Babish
Food Fears • Good Mythical Morning
Gordon Ramsay
Rosanna Pansino
Worth It • BuzzFeedVideo

The Completionist
The Game Theorists
Girlfriend Reviews

Health and Wellness
Doctor Mike
The Fitness Marshall
Jay Shetty
Kati Morton
Prince Ea

Kids and Family
Chad Wild Clay
Guava Juice
The Holderness Family
JoJo Siwa
The LaBrant Fam

Brent Rivera
Bretman Rock
Niki and Gabi
Rickey Thompson
Safiya Nygaard

Business Insider Today
The Philip DeFranco Show
Some More News
The Young Turks

Pop Culture
Fan Survey • Teen Vogue
Hot Ones • First We Feast
IMDb Me • IMDb
Sneaker Shopping • Complex

Science and Education
Kurzgesagt – In a Nutshell
Mark Rober
Mind Field: Season 3 • Vsauce

Donut Media
Kristopher London
The NBA Storyteller
People Are Awesome

Marques Brownlee
Sara Dietschy
Unbox Therapy


Live Streamer
Twitch Rivals


Breakthrough Artist
Conan Gray
Lewis Capaldi
Lil Nas X
Lil Tecca


H3 Podcast
On Purpose with Jay Shetty
Tiny Meat Gang Podcast
VIEWS with David Dobrik and Jason Nash


Annie LeBlanc – Chicken Girls
Brandon Rogers – Blame The Hero
DeStorm Power – You Decide
Raney Branch – Black Girls Guide to Fertility
Tim Manley – The Feels

David Dobrik and Kylie Jenner – SURPRISING PEOPLE WITH KYLIE JENNER!! • David Dobrik
Molly Burke and Dolan Twins – Blindfolded Skydiving w/ The Dolan Twins! • Molly Burke
PatrickStarrr and Naomi Campbell – NAOMI CAMPBELL MAKEUP TUTORIAL • PatrickStarrr
Rebecca Zamolo and The Game Master Network – World’s Largest YOUTUBE Takeover In REAL LIFE at ViDCON! • Rebecca Zamolo
Sofie Dossi and Matt Steffanina – 7 Rings – Ariana Grande • Sofie Dossi

Ensemble Cast
Escape the Night: Season 4 • Joey Graceffa
The Try Guys
The Valleyfolk
Vlog Squad • David Dobrik


Adam Bianchi, Andrew Ilnyckyj, Steven Lim – Worth It • BuzzFeedVideo
Devin Graham – devinsupertramp
Jake Koehler – DALLMYD
Josh Cassidy – Deep Look
Peter McKinnon – Peter McKinnon

Costume Design
Brandon Rogers – Blame The Hero
Marc Littlejohn – Welcome to Daisyland
Morgan Christensen – Epic Rap Battles of History
Olivia Hines – Escape the Night: Season 4
Samantha Rhodes – Lindsey Stirling

Brandon Rogers – Blame The Hero
Cole Bennett – Lyrical Lemonade
David Dobrik – David Dobrik
Hannah Lehman – Two Sides
Lindsey Stirling, Tom Teller – Lindsey Stirling

David Dobrik – David Dobrik
Elle Mills – ElleOfTheMills
Emma Chamberlain – emma chamberlain
Marc Schneider, Alex “Sedge” Sedgwick, BanditRants – The Game Theorists
Steve Grubel – Escape the Night: Season 4

Visual and Special Effects
Aaron Benitez – Aaron’s Animals
Caleb Natale – Caleb Natale
Jody Steel – Jody Steel
Kevin Parry – Kevin Parry
Martin R. – Buttered Side Down

Alex Ernst – Alex Ernst
Jae Richards, Trey Richards – 4YE Comedy
Kyle Exum – Kyle Exum
Nice Peter, EpicLLOYD, Zach Sherwin – Epic Rap Battles of History
Thomas Sanders, Joan S., Adri White, Quil Cauchon, AJ Hentges – Thomas Sanders


Company or Brand
Ellen & Cheerios – DiversiTEA with Naomi Wadler
WWE – Connor’s Cure – Children’s Hospital of Pittsburgh
Zillow – Finding Home in America • ATTN:

21 Savage – Leading by Example Foundation and Get Schooled
King Bach – RuJohn Foundation
Markiplier – My Friend’s Place

Nonprofit or NGO
It Gets Better Project
St. Jude Children’s Research Hospital – St. Jude PLAY LIVE

Winners previously announced

Brand Engagement
Winner: Chipotle + David Dobrik – Chipotle • Collab
#FindMyiD – Clinique
Barbie – Mattel Digital Engagement Group
David Dobrik x SeatGeek: Becoming a Member of the VlogSquad – SeatGeek
Peace Props – Peace Tea

Branded Content: Series
Winner: The Purple Boys – Purple • Tim and Eric
Cold As Balls – Old Spice
Road to Wizdom – AARP • Washington Wizards
Science of Mortal Kombat – Mortal Kombat • Because Science
Will It Clog? – Liquid-Plumr • VAT19

Branded Content: Video
Winner: Snoop Dogg x NikkieTutorials – Marc Jacobs Beauty
Jurassic World as a Chain Reaction Machine – Jurassic World • WatchMojo
Michelle Khare: Challenge Accepted: I Tried Marine Bootcamp – United States Marine Corps
Rabbit Hole – HTC Vive • FaZe Clan
The Try Guys Try 13 Future Technologies At Google – Google I/O

Emerging Platform
Winner: Jimmy Fallon ‘Tell Me A Joke’ – Amazon Alexa
#findyourmagic – The House with a Clock in Its Walls
Smule Duet with Natasha Bedingfield – MTV’s The Hills: New Beginnings
Tasty x eko – Walmart • BuzzFeed
WrestleMania Kickoff – WWE

Influencer Campaign
Winner: #MyTruth #MyCalvins – Calvin Klein
Chipotle + David Dobrik – Chipotle
David Dobrik x SeatGeek: Becoming a Member of the VlogSquad – SeatGeek
Look, there’s no reason not to use Honey – Honey
Ryan’s World x Colgate – Colgate • Ryan ToysReview

Social Good Campaign
Winner: Teens React to Texting and Driving (Distracted Driving) – AT&T It Can Wait • FBE
Because of You – Ad Council • Brat
Finding Home in America – Zillow • ATTN:
Generation Good – Cheerios • Ellen Digital Network
Let’s Talk About Turbans (Gasp!) – We Are Sikhs • Funny Or Die

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LYON, France  —  Leading Italian restoration company L’Immagine Ritrovata’s acquisition of renowned film lab Eclair Cinéma, announced last month, is expected to be approved by the French Commercial Court of Nanterre at the end of November or beginning of December, according to a source familiar with the deal. L’Immagine Ritrovata’s French subsidiary, L’Image Retrouvée, last […] | 10/16/19
"About his discussions with a frog..." Stage Russia has debuted an official trailer for a documentary titled Rezo, a film about the famous Georgian writer, artist and puppeteer Rezo Gabriadze. Rezo is best known as the screenwriter of the iconic Soviet movies Mimino and Kin-dza-dza. He has been awarded the title of Commander of the Order of Arts and Literature in France, and New Yorker recognized his Stalingrad as one the best theatrical performances of 2010. His sculptures adorn the streets of Saint Petersburg and Odessa. Timur Bekmambetov also produced the film, and says about it: "Rezo has become family for me. This movie is my homage to a senior colleague and a sign of the deepest recognition of his identity, talent and incredible charm. There is no room for indifference in his stories. They cut directly to the heart." Half of this film is drawn by Rezo himself, a mix of classic doc storytelling & animation. I will say ...

Feminist mystery “Dilili in Paris,” a new feature-length enterprise from French animation legend Michel Ocelot (“Kirikou and the Sorceress,” “Azur & Asmar”) spotlights the prominence of noxious ideologies, misogyny and racism through an occasionally dazzling, though oddly rendered, adventure set during the Belle Epoque period of the late 1800s and early 1900s in Paris.

Dilili (voiced by Prunelle Charles-Ambron in the English dub), a young biracial and bilingual Kanak immigrant from New Caledonia, a French colony in the South Pacific, snuck into a ship to reach Europe, where she now performs her tribe’s daily tasks as exotic amusement for Parisians. Speaking openly about the racially motivated discrimination she’s endured, Dilili shines as a rare heroine of color in a white world. She feels neither fully French nor Kanak, because she is either two fair or too dark depending on where she finds herself geographically.

Intrigued by her linguistic abilities, Orel (Enzo Ratsito), a local courier, befriends the petite erudite and fills her in on the recent abductions of multiple girls at the hands of a sexist sect known as the Male Masters. Its sleazy members wear nose rings and despise women who’ve attained any sort of power within French society. Naturally, the curious and socially conscious Dilili wishes to investigate in order to unclog the ideological sewer that has enabled these culprits.

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Didactic in its tonal approach and narrative construction, Ocelot’s latest gives the impression of being an introductory installment in a property that could yield its own television series aimed at young audiences looking for an entertaining way to learn about France’s historical figures. Elegantly greeting anyone with whom she comes in contact, Dilili becomes acquainted with the likes of Marie Curie, Marcel Proust, Claude Debussy, Pierre-Auguste Renoir, and even Gustave Eiffel. While charming and trivia-friendly, the encounters add up as if fulfilling a checklist on a lesson plan more than organically strengthening the tale.

Photorealistic backgrounds consistently stun as they clash with the more low-res CG characters, which emulate designs from early 21st century video games rather than fully accomplished animated characters for a production made this decade. Instead of being translated into more graphic or cartoonish incarnations, landmarks, buildings, and other architectural gems retain their real-life textures and lighting, as do all other elements of the production design. At first sight, their live-action look bewilders the eyes.

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Stylistically, the visual divide between the human figures and their environments makes for a striking contrast. However, once movement comes into play, the precarious confection of the characters is unavoidably noticeable. Instances that surpass these ill-conceived characteristics exist, such as a blue-hued segment featuring singer Emma Calvé performing on a swan boat while inside a palatial structure built on water, or when Paris’ most iconic tower takes the foreground for a climactic action sequence.

As Dilili and the supporters she’s accumulated along her Jules Verne-inspired ordeal inch closer to resolving the mystery of the missing girls, darkness creeps into the plot once it’s revealed that the wicked group they are fighting resembles terrorist organizations like ISIS or the Taliban in the dehumanizing tactics they employ to subdue captured adult women and girls. It’s in the implementation of this twist that the French pedigree of the film becomes obvious, since animated projects there (even those considered children-oriented) dare to touch on adult subjects. American viewers may raise their eyebrows to the revelation of what the kidnappers refer to as  a “four-leg” creature and to the truly disturbing, although unfortunately realistic, conversations men have about women throughout.

Patriarchal subjugation is also addressed in moments involving artists and scientists vowing never to sign their work in their husbands’ names or to allow them to take credit for their discoveries. Dilili herself isn’t shy about her affinity to write or the multiple interests that could result in a career when she grows older. Ocelot’s attempt to rewrite history as her story in this period fiction, as instructional as it is, demonstrates he has his finger on both the pulse of modern culture and the historically unresolved wrongs perpetrated by the white male establishment.

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Overly explanatory dialogue at every step of the way doesn’t help “Dilili in Paris” surpass its information-dispatching structure nor does it complement it with more necessary pathos. Stilted but commendable for its intent, the movie may function as a great conversation-starter if watched with young kids who might be receptive to new material. For fans of international animation, there are sporadic diamonds of craft, but likely not enough to impress viewers accustomed to the quality of the GKIDS catalogue.

Ocelot works independently, and in today’s rapidly changing and saturated animation landscape. that could mean less resources for ventures like this. Still, finding a space within the educational market as an art-house audiovisual tool for elementary history classes could very possibly be “Dilili’s” ultimate destiny, and that’s truly where it’s most needed.

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At long last, Netflix has set a date for “Queer Eye: We’re in Japan!”

The four-episode special season will premiere on Nov. 1. Japanese model and actress Kiko Mizuhara will be featured as the Fab Five’s guide through Tokyo — plus, comedian Naomi Watanabe will make a special appearance.

Food & wine expert Antoni Porowski, interior designer Bobby Berk, grooming guru Jonathan Van Ness, culture expert Karamo Brown, and fashion specialist Tan France “will bring their expertise to Tokyo to make-better four heroes while experiencing Japanese cuisine, fashion, design, grooming and culture firsthand,” according to Netflix.

Watch the trailer below right now:

????? Tokyo!!! Our special season, Queer Eye: We’re in Japan! is coming to Netflix November 1!  CAN. YOU. BELIEVE. ????????????????

— Queer Eye (@QueerEye) September 5, 2019

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Season 4 of “Queer Eye” premiered on Netflix July 19, and features Van Ness paying a visit to his old high school in Quincy, Illinois, where he gave one of his former teachers a makeover. Aside from the Illinois episode, the rest of the season took place in the Kansas City, Missouri area, where the fab five help out a whole new group of people.

Season 5 was announced in June and will be set in Philadelphia, Pennsylvania when it premieres in 2020.

“Queer Eye” is executive produced by David Collins, Michael Williams and Rob Eric for Scout Productions. Jennifer Lane serves as showrunner and executive producer, while David George, Adam Sher, David Eilenberg and Jordana Hochman serve as executive producers for ITV Entertainment.

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There aren’t a lot of things Hollywood loves more in a film than the retelling of true-to-life events or the on-screen portrayal of the real life of a complicated or inspiring person. For proof, look no further than what the Academy of Motion Picture Arts and Sciences awards each year: In the last 10 years of the Academy Awards, seven times the coveted award for best actor has gone to someone portraying a real person, including last year when Rami Malek won for “Bohemian Rhapsody.”

Here’s a look at some of the most-anticipated biopics and films based on real events coming this fall, featuring some of the biggest actors in Hollywood — Meryl Streep, Charlize Theron, Tom Hanks and Robert De Niro, et al — and from directors such as Steven Soderburg and Martin Scorsese.

“Hustlers” (Sept. 13): STX Entertainment’s glitzy Robin Hood of strippers (of sorts) film, which the studio picked up after it was jettisoned from Annapurna, is inspired by a viral 2016 New York Magazine article. “Hustlers” follows a crew of savvy strip club employees who band together to turn the tables on wealthy, drunk and abusive Wall Street clientele by maxing out their credit cards after they’ve passed out. The film stars Jennifer Lopez, Constance Wu, Cardi B, Lizzo, Keke Palmer, Lili Reinhart and Julia Stiles.

“Judy” (Sept. 27): Renee Zellweger takes the stage as the iconic Judy Garland in this film set in 1968 when “The Wizard of Oz” star arrived in London to perform in a sell-out run of “The Talk of the Town.” The film follows Garland as she prepares for the show, battles with management, charms musicians and reminisces with friends and adoring fans. Finn Wittrock, Jessie Buckley and Michael Gambon also star.

“The Laundromat” (Sept. 27): “The Laundromat” is Steven Soderbergh’s latest film and flaunts a goulash of actors including Meryl Streep, Gary Oldman, Antonio Banderas, Sharon Stone, Jeffrey Wright, Melissa Rauch, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore, Rosalind Chao and James Cromwell, et al. “The Laundromat” is Soderbergh’s screwball comedy about  the Panama Papers, a massive conspiracy of the uber-wealthy that involved money laundering, bribery, extortion. The film is based on Jake Bernstein’s book, “Secrecy World: Inside the Panama Papers Investigation of Illicit Money Networks and the Global Elite.”

“The Current War” (Oct. 4): The Benedict Cumberbatch and Michael Shannon-led historical drama languished in limbo for nearly two years following The Weinstein Co.’s bankruptcy, but it was bought by 101 Studios in April and is finally seeing the light of day after having premiered at the 2017 Toronto International Film Festival. “The Current War” tells the story of the cutthroat competition between Thomas Edison (Cumberbatch) and George Westinghouse (Shannon) over whose electrical system would power the new century. Nicholas Hoult also stars as Nikola Tesla.

“Lucy in the Sky” (Oct. 4): “Fargo” and “Legion” creator Noah Hawley directed Natalie Portman in “Lucy in the Sky,” loosely based on astronaut Lisa Nowak who, in the film has a hard time readjusting following her return from space. Nowak, who was romantically involved with fellow astronaut William Oefelein flew aboard Space Shuttle Discovery in July 2006. The following year she was charged with the attempted kidnapping of U.S. Air Force Cpt. Colleen Shipman, who also had an affair with Oefelein. Nowak ultimately pled guilty to lesser charges and was sentenced to a year probation. “Lucy in the Sky” also stars Jon Hamm, Zazie Beetz and Dan Stevens.

“Dolemite is my Name” (Oct. 25): Eddie Murphy returns to the screen after a three year hiatus to play a blaxploitation legend — his name is Dolemite. Actually, his name is Rudy Ray Moore. Dolemite is the alter-ego Moore creates after struggling to break into the entertainment industry, in order to star in blaxploitation films. Moore would go on to star in three films as Dolemite, including “Dolemite” from 1975, followed by “The Human Tornado” and “The Return of Dolemite.” The Netflix  film also stars Keegan-Michael Key, Mike Epps, Wesley Snipes, Craig Robinson, Tituss Burgess and Da’Vine Joy Randolph.

“The Irishman” (Nov. 1): Martin Scorsese reunites Robert De Niro and Al Pacino in what is one of the fall’s most-anticipated films — biopic or otherwise. “The Irishman,” which uses CG to de-age the actors, is a decade-spanning saga of organized crime in post-WWII America that covers Jimmy Hoffa’s (Pacino) rise as the leader of the Teamsters, and Frank Sheeran’s (De Niro) participation in hits for the Bufalino crime family as well as the assassination of John F. Kennedy. Harvey Keitel, Ray Romano, Bobby Cannavale, Anna Paquin, Stephen Graham, Stephanie Kurtzuba, Jack Huston, Kathrine Narducci and Jesse Plemons also star in the Netflix film.

“Harriet” (Nov. 1): Cynthia Erivo, who had a breakout 2018 with films “Widows” and “Bad Times at the El Royale,” gets a star turn as American abolitionist, activist and icon Harriet Tubman. The film follows the freedom fighter on her escape from slavery, as well as during her subsequent missions to free dozens of slaves in the South during a time of extreme adversity ahead of the Civil War.

“The King” (Nov. 1): Timothée Chalamet follows in the footsteps of Shakespearean greats Laurence Olivier and Kenneth Branagh, taking on the role of Henry V in Netflix’s “The King.” The historical drama is an adaptation of William Shakespeare’s play about the 15th-century monarch. It follows the young king navigates the palace politics, chaos and war his father left behind in death. Chalamet is backed by a great cast that includes Joel Edgerton, Sean Harris, Lily-Rose Depp, Robert Pattinson and Ben Mendelsohn.

“Honey Boy” (Nov. 8): “Honey Boy,” written by Shia LaBeouf, is a raw and cathartic telling of the actor’s childhood growing up with an abusive and alcoholic father, played by LaBeouf. LaBeouf wrote the screenplay while in rehab and reconciling with his father and confronting his mental health. Noah Jupe plays what is a proxy for young Shia, named Otis, and Lucas Hedges plays him as an adult.

“Ford v Ferrari” (Nov. 15): In a film that might as well be called “We Want an Oscar,” Matt Damon stars as visionary car designer Carroll Shelby along with Christian Bale as the fearless British-born driver Kevin Miles. The film tells the true story of the two men as they build a revolutionary race car for Ford Motor Company and take on Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

“A Beautiful Day in the Neighborhood” (Nov. 22): Tom Hanks plays the indelible Fred Rogers. Nothing else need be said.

“Bombshell” (Dec. 20): “Bombshell,” another film picked up by a studio after Annapurna let it go, tells the story of the Fox News sexual harassment scandal from the point of view of the women who took on the toxic male culture of Fox News, which ultimately led to the downfall of former Fox News head Roger Ailes. Charlize Theron stars, in a striking resemblance to Megyn Kelly, alongside Nicole Kidman and Margot Robbie. “Bombshell” was directed by Jay Roach and written by “The Big Short” scribe Charles Randolph

“Just Mercy” (Dec. 25): Michael B. Jordan stars as real-life author, activist and Civil Rights defense lawyer Bryan Stevenson in this emotional court room drama as he recounts his experiences and the details of the case of wrongly convicted death row inmate Walter McMillian (Jamie Foxx) whom he fights to set free. The film, which also stars Brie Larson, is directed by “Short Term 12” filmmaker Destin Cretton.

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The world premieres of James Mangold’s “Ford v Ferrari,” the Safdie brothers’ “Uncut Gems,” Edward Norton’s “Motherless Brooklyn,” Tom Harper’s “The Aeronauts,” Kelly Reichardt’s “First Cow” and Rupert Goold’s “Judy” will highlight the lineup of the 2019 Telluride Film Festival. The festival announced its slate of films on Thursday, one day before the three-day event will kick off in the Colorado mountain town.

Stars headed to the Colorado mountain town should include Matt Damon and Christian Bale for the auto-racing drama “Ford v Ferrari,” Adam Sandler for “Uncut Gems,” Eddie Redmayne and Felicity Jones for the period piece “The Aeronauts” and Renee Zellweger for the Judy Garland story “Judy.”

Special tributes and Silver Medallion Awards will be presented to Zellweger, Adam Driver and director Philip Kaufman.

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Portions of Ken Burns’ upcoming documentary series, “Country Music,” will also be screened in Telluride, as will Agnes Varda’s final film, “Agnes by Varda,” Davis Guggenheim’s Bill Gates documentary “Inside Bill’s Brain” and Trey Edward Shults’ “Waves.”

The three short films will include “Lost and Found” and “Into the Fire,” both by Orlando von Einsiedel, the Oscar-winning director of the short “The White Helmets.”

The festival, which selects a carefully-curated group of about two dozen films, has also opted to showcase a number of films from this year’s Cannes Film Festival, including Pedro Almodovar’s “Pain and Glory,” Celine Sciamma’s “Portrait of a Lady on Fire,” Terrence Malick’s “A Hidden Life,” Kantemir Balagov’s “Beanpole” and Bong Joon Ho’s Palme d’Or winner, “Parasite.”

Noah Baumbach’s “Marriage Story,” Fernando Meirelles’ “The Two Popes” and Lauren Greenfield’s “The Kingmaker” are among the films that will go to Telluride after premiering at the Venice Film Festival. “Marriage Story” is the only film to be playing all four of the fall festivals – Venice, Telluride, Toronto and New York – while “The Kingmaker” is the only documentary to be screening at Venice, Telluride and Toronto.

Telluride typically showcases a group of films that include many Oscar nominees-to-be, though its eight-year streak of screening the eventual Best Picture winner came to an end last year when “Green Book” skipped Telluride, premiered in Toronto and went on to win the top prize. Of last year’s Telluride selections, only two, “Roma” and “The Favourite,” would receive best-pic nominations, though the 2018 selection also included Oscar winners “Free Solo” (documentary feature) and “First Man” (visual effects) and nominees “Cold War,” “Shoplifters” and “Can You Ever Forgive Me?”

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Telluride screenings begin on Friday and end on Monday.

The lineup:

· THE AERONAUTS (d. Tom Harper, U.S. – U.K., 2019)
· THE ASSISTANT (d. Kitty Green, U.S., 2019)
· THE AUSTRALIAN DREAM (d. Daniel Gordon, Australia, 2019)
· BEANPOLE (Kantemir Balagov, Russia, 2019)
· THE CLIMB (d. Michael Angelo Covino, U.S., 2019)
· COUP 53 (d. Taghi Amirani, U.K., 2019)
· DIEGO MARADONA (d. Asif Kapadia, U.K., 2019)
· FAMILY ROMANCE, LLC (d. Werner Herzog, U.S. – Japan, 2019)
· FIRST COW (d. Kelly Reichardt, U.S., 2019)
· FORD v FERRARI (d. James Mangold, U.S., 2019)
· JUDY (d. Rupert Goold, U.K.-U.S., 2019)
· A HIDDEN LIFE (d. Terrence Malick, U.S. – Germany, 2019)
· THE HUMAN FACTOR (d. Dror Moreh, U.K., 2019)
· INSIDE BILL’S BRAIN (d. Davis Guggenheim, U.S., 2019)
· THE KINGMAKER (Lauren Greenfield, U.S., 2019)
· LYREBIRD (d. Dan Friedkin, U.S., 2019)
· MARRIAGE STORY (d. Noah Baumbach, U.S., 2019)
· MOTHERLESS BROOKLYN (d. Edward Norton, U.S., 2019)
· OLIVER SACKS: HIS OWN LIFE (d. Ric Burns, U.S., 2019)
· PAIN AND GLORY (d. Pedro Almodóvar, Spain, 2019)
· PARASITE (d. Bong Joon-ho, South Korea, 2019)
· PORTRAIT OF A LADY ON FIRE (d. Céline Sciamma, France, 2019)
· THE REPORT (d. Scott Z. Burns, U.S., 2019)
· TELL ME WHO I AM (d. Ed Perkins, U.K., 2019)
· THOSE WHO REMAINED (d. Barnabás Toth, Hungary, 2019)
· THE TWO POPES (d. Fernando Meirelles, U.K., 2019)
· UNCUT GEMS (d. Josh Safdie, Benny Safdie, U.S., 2019)
· VARDA BY AGNÈS (d. Agnès Varda, France, 2019)
· VERDICT (d. Raymond Ribay Gutierrez, Philippines, 2019)
· WAVES (d. Trey Edward Schultz, U.S., 2019)

Additional programs:
· COUNTRY MUSIC (d. Ken Burns, U.S., 2019)

Short films:
· FIRE IN PARADISE (d. Zack Canepari, Drea Cooper, U.S., 2019)
· INTO THE FIRE (d. Orlando von Einsiedel, Iraq-U.K., 2019)
· LOST AND FOUND (d. Orlando von Einsiedel, Bangladesh-U.K., 2019).

Selections from guest director Pico Iyer:
· LATE AUTUMN (d. Yasujir? Ozu, Japan, 1960)
· THE MAKIOKA SISTERS (d. Kon Ichikawa, Japan, 1983)
· MR. AND MRS. IYER (d. Aparna Sen, India, 2002)
· UNDER THE SUN (d. Vitaly Mansky, Czech Republic-Russia-Germany-Latvia-North Korea, 2015)
· WHEN A WOMAN ASCENDS THE STAIRS (d. Mikio Naruse, Japan, 1960)

Additional film revivals:
· THE WIND (d. Victor Sjöström, U.S, 1928)
· THE PHANTOM CARRIAGE (d. Victor Sjöström, Sweden, 1921).

· 63 UP (d. Michael Apted, U.K., 2019)
· BILLIE (d. James Erskine, U.K., 2019)
· CHULAS FRONTERAS (d. Les Blank, U.S., 1976)
· THE GIFT: THE JOURNEY OF JOHNNY CASH (d. Thom Zimny, U.S., 2019)
· LINDA RONSTADT: THE SOUND OF MY VOICE (d. Rob Epstein, Jeffrey Friedman, U.S., 2019)
· SOROS (d. Jesse Dylan, U.S., 2019)
· UNCLE YANCO (d. Agnès Varda, France-U.S., 1967) + BLACK PANTHERS (d. Agnès Varda, France-U.S., 1968)

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Costa-Gavras, the Greek-born France-based director of some of the most famed movies of political cinema, from 1969’s “Z” to 1981’s “Missing,” will receive a career achievement Donostia Award at this September’s 67th San Sebastian Film Festival. The filmmaker will collect his prize on Sept. 21 at a ceremony held at San Sebastian’s Victoria Eugenia, where […] | 8/19/19

Nick Payne and Simon Stephens do their respective one-act monologues no favors by putting them together on a double bill. Even the starry solo turns of Jake Gyllenhaal and Tom Sturridge can’t relieve the monotony of seeing Stephens’ “Sea Wall” and Payne’s “A Life” back to back with an intermission. The revival of these two plays opened Thursday at the Hudson Theatre after a recent engagement at the Public Theater.

Very distant are the days when playwrights, like Edward Albee, routinely paired substantial one-act plays, like “The American Dream” and “The Zoo Story.” Nowadays, audiences are content to see a 70- or even 60-minute play and call it a night at the theater. More important, Albee offered something that’s sadly lacking with the Stephens/Payne coupling: variety.

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Since “Sea Wall” had its debut in 2008 and “A Life” (formerly burdened with the title “The Art of Dying”) followed six years later, Stephens can be said to have gotten there first to write a monologue about death in which the man’s grief is so overwhelming that he can’t cogently tell us the story of what happened.

Yes, in his monologue, Alex (Sturridge) always returns to the death that has wounded him, but he mixes it up with what, at first hearing, seem to be unrelated topics. He tells us how best to photograph people and that Jane Austen didn’t write detective fiction, as if anyone were asking. He recalls going scuba diving and encountering a great underwater sea wall.

In an amazing feat of literalism, Sturridge climbs a ladder to teeter precariously on an upstage wall (set design by Laura Jellinek). There’s also talk of pi, or the Archimedes’ constant. In his plays, Stephens is big on math references, which never fail to impress theater critics who majored in the liberal arts.

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The math references, as well as other digressions, have to do with God. They are the kind of ramblings you heard from that annoying college freshman in your dorm who recently returned from a Lars von Trier film festival.

Alex’s non sequiturs are meant to show his discombobulated state of mind, but soon devolve into a playwright’s tic. “Sea Wall” is not helped by Sturridge’s jerky performance. Every fifth or sixth word is punched, as if English is Alex’s second language, and Sturridge never stops attacking the air around him, as if shadow-boxing with his right hand. He appears most excited when correctly pronouncing a French location — the play is replete with such place names since the death in question takes place in the south of France.

Carrie Cracknell directs “Sea Wall” with a minimum of fuss. She makes up for that minimalism by pulling out every directorial cliché to stage “A Life.”

A stagehand enters the dimly lit stage only to miraculously morph into Jake Gyllenhaal! Cracknell and designer Guy Hoare immediately place him under a spotlight for the duration of the play. He’s the movie star, all right, and designers Kaye Voyce and Christopher Peterson attempt to remedy his good looks by putting Gyllenhaal in baggy pants and a lumpy cardigan sweater that almost but not quite covers his flannel shirt. Directors used to do this kind of deglamorization with Julia Roberts in her post-“Pretty Woman” film career, as if to prove she could really act.

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A far greater problem than the costume is that spotlight. This effect might work for anyone sitting in the front of the orchestra, but it’s a trial for everybody else — just as it was at the far more intimate Newman Theater at the Public.

And the lighting only gets worse. About halfway through “A Life,” Gyllenhaal leaves the stage to walk around and through the audience, illuminated by his iPhone. You will pay no more attention to what he’s saying during this excursion than you did when Bryan Cranston held court in the audience in the recently shuttered “Network.”

Payne is better at the non sequiturs than Stephens. Then again, the design here is more obvious: Abe (Gyllenhaal) scrambles stories about the death of his father and the birth of his daughter. Unlike Sturridge, Gyllenhaal segues seamlessly, and sometimes he’s talking about Dad before we realize he’s finished with the wife and baby. It’s an effectively sentimental play, and Payne isn’t above throwing in John Lennon’s “Imagine” to give the heartstrings a good workout. It’s also a deeply naive play. Only a playwright under the age of 40 would tell us that we plan for birth but we don’t plan for death.

Not that I’ve kept count over the years, but I don’t recall ever seeing a play in which “ER” is mentioned. Until now. Stephens and Payne’s respective characters each mention the TV show that not only made George Clooney a star but had so much to say about these playwrights’ favorite subjects: life and death.

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Roman Polanski’s “J’Accuse,” Todd Phillips’ “Joker,” Noah Baumbach’s “Marriage Story” and Steven Soderbergh’s “The Laundromat” are among the films that will screen at the 2019 Venice International Film Festival, Venice organizers announced at a press conference in Rome on Thursday.

This will mark Polanski’s first appearance at a major festival since his May 2018 expulsion from the Academy of Motion Picture Arts and Sciences, with the decision by the AMPAS Board of Governors referencing his 1978 guilty plea to a charge of statutory rape.

“J’Accuse,” which had been screening for buyers under the title “An Officer and a Spy,” is his dramatization of the Alfred Dreyfus scandal in 19th century France, and has been considered by some, sight unseen, as a comment of sorts on the #MeToo movement.

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Other films in the Venice Film Festival main competition include James Gray’s “Ad Astra,” Pablo Larrain’s “Ema,” Atom Egoyan’s “Guest of Honour,” Haifaa al Mansour’s “The Perfect Candidate,” Ciro Guerra’s “Waiting for the Barbarians” and Olivier Assayas’ “Wasp Network.”

Only two of the 21 directors in the main competition are women, Mansour and Shannon Murphy (“Babyteeth”). Two days ago, the Toronto Film Festival announced 56 gala and special screenings, half of which were directed by women. A smattering of female directors are also represented in other sections at Venice.

Films screening out of competition in Venice will include “The King” by David Michod and “Adults in the Room” by Costa-Gavras, while the non-fiction out-of-competition films will include Alex Gibney’s “Citizen K,” Tim Robbins’ “45 Seconds of Laughter,” Lauren Greenfield’s “The Kingmaker,” Sergei Loznitsa’s “State Funeral” and “Roger Waters Us + Them,” co-directed by the former Pink Floyd bandleader Waters and by Sean Evans.

Venice already announced that “The Truth,” the English-language debut from Palme d’Or winning Japanese director Hirokazu Kore-eda, will be the festival’s opening-night attraction, while Guiseppe Capotondi’s “The Burnt Orange Heresy,” with Mick Jagger and Elizabeth Debicki, will screen on its closing night.

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While some Italian exhibitors were reportedly upset last year when the Netflix film “Roma” won the festival’s Golden Lion award, the streaming service has a presence on the Lido this year as well with Baumbach’s “Marriage Story” and Soderbergh’s “The Laundromat.”

The Venice Film Festival is the first of the fall festivals that debut most of the films that will be competing for film awards each year. It opens on August 28 and runs through September 7, preceding but also overlapping both the Telluride and Toronto Film Festivals.

In three of the last five years, the eventual Oscar winner for Best Picture – “Birdman” in 2014, “Spotlight” in 2015 and “The Shape of Water” in 2017 – premiered in Venice. Last year’s winner, “Green Book,” debuted in Toronto.

On Tuesday, Toronto announced the first group of films in its lineup, which is far larger than the Venice lineup. Telluride does not announce its lineup until the day before it begins, which this year will be August 30.

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Short films and additional programs can be found on the Venice Film Festival website.

The Venice lineup:

“The Truth,” Hirokazu Kore-eda (opening night)
“About Endlessness,” Roy Andersson
“Ad Astra,” James Gray
“Babyteeth,” Shannon Murphy
“Ema,” Pablo Larrain
“Gloria Mundi,” Robert Guediguian
“Guest of Honour,” Atom Egoyan
“A Herdade,” Tiago Guedes
“J’Accuse,” Roman Polanski
“Joker,” Todd Phillips
“The Laundromat,” Steven Soderbergh
“La mafia non e piu quella di una volta,” Franco Maresco
“Marriage Story,” Noah Baumbach
“Martin Eden,” Pietro Marcello
“No. 7 Cherry Lane,” Yonfan
“The Perfect Candidate,” Haifaa al Mansour
“Il Sindaco del Rione Santia,” Mario Martone
“The Painted Bird,” Vaclav Marhoul
“Saturday Fiction,” Lou Ye
“Waiting for the Barbarians,” Ciro Guerra
“Wasp Network,” Olivier Assayas

“Adults in the Room,” Costa Gavras
“The Burnt Orange Heresy,” Giuseppe Capotondi
“The King,” David Michod
“Mosul,” Matthew Michael Carnahan
“Seberg,” Benedict Andrews
“Tutt oil Mio Folle Amore,” Gabriele Salvatores
“Vivere,” Francesa Archibugi

“Electric Swan,” Konstantina Kotzamani
“Irreversible – Inversion Integrale,” Gaspar Noe
“The King,” David Michod
“Never Just a Dream: Stanley Kubrick and Eyes Wide Shut,” Matt Wells
“Eyes Wide Shut,” Stanley Kubrick
“The New Pope” (Episodes 2 and 7), Paolo Sorrentino
“ZeroZeroZero” (Episodes 1 and 2), Stefano Sollima

“Citizen K,” Alex Gibney
“Citizen Rosi,” Didi Gnocchi, Carolina Rosi
“Colectiv,” Alexander Nanau
“45 Seconds of Laughter,” Tim Robbins
“I Diari di Angela – Noi Due Cineasti. Capitolo Secondo,” Yervant Gianikian, Angela Ricci Lucchi
“Il Pilaneta in Mare,” Andrea Segre
“The Kingmaker,” Lauren Greenfield
“No One Left Behind,” Guillermo Arriaga
“Roger Waters Us + Them,” Sean Evans, Roger Waters
“State Funeral,” Sergei Loznitsa
“Woman,” Yann Arthus-Bertrand, Anastasia Mikova

“Pelican Blood,” Katrin Gebbe (opening film)
“Atlantis,” Valentyn Vasyanovych
“Bik Eneich – Un Fils,” Mehdi M. Barsaoui
“Blanco en Blanco,” Theo Court
“Chola” (“Shadow of Water”), Sasidharan Sanal Kumar
“The Criminal Man,” Dmitry Mamuliya
“Giants Being Lonely,” Grear Patterson
“Haya, Maryam, Ayesha,” Sahraa Karimi
“Just 6.5,” Saeed Roustaee
“Madre,” Rodrigo Sorogoyen
“Mes Jours de Gloire,” Antoine De Bary
“Moffie,” Oliver Hermanus
“Nevia,” Nunzia De Stefano
“Qiqiu” (“Balloon”), Pema Tseden
“Revenir,” Jessica Palud
“Rialto,” Peter Mackie Burns
“Sole,” Carlo Sironi
“Verdict,” Raymund Ribay Gutierrez
“Zumiriki,” Oskar Alegria

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All times Eastern. FRIDAY, July 19 Queer Eye The Emmy Award-winning show returns to help transform style-challenged men into hip and happening savants under the tutelage of the Fab Five, whose expertise spans dining and drink, interior design, grooming, culture and—of course—fashion. With Antoni Porowski, Bobby Berk, Jonathan Van Ness, Karamo Brown and Tan France […] | 7/19/19

There are almost too many original ideas in “A Faithful Man,” the second feature directed by French star Louis Garrel.

Many plot twists and turns are packed into the rather rushed 75-minute running time here, and they are not always “elegant,” to borrow a preferred term from the film, but they are certainly diverting. The screenplay was co-written by Garrel and the great screenwriter Jean-Claude Carrière, and the tone is all over the place, but playfully so.

“A Faithful Man” begins with a shot of the Eiffel Tower and some tasteful piano music on the soundtrack, and this would seem to threaten some serious Gallic treatment of l’amour. Garrel’s character Abel tells us in narration that he has been living with Marianne (Laetitia Casta) for three years. As he is leaving one morning for work, Marianne very matter-of-factly tells him that she is pregnant with a baby by a mutual friend named Paul, and Abel takes this news with near-comic equanimity. There is even an old-fashioned Noel Coward air of “we’re all adults and we’re sophisticated” about their viewpoint.

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Any film with Louis Garrel in it is at least partially about his hair, which is close-cropped in this first scene but back to its full iconic mess of curls in a scene set around eight years later, at Paul’s funeral. The dry comic undertone of the material is maintained when Abel goes out to eat with Marianne and the waitress keeps shaking her head to let him know not to order certain dishes, but this romantic drama with whiffs of romantic comedy shifts towards something darker when Joseph (Joseph Engel), Marianne’s young son, tells Abel that he thinks Paul was poisoned by Marianne. Engel has a very mature face and a clear gaze, and so it isn’t too easy to shake off Joseph’s suspicions of murder, either for Abel or for the audience.

The camera style chosen by Garrel and cinematographer Irina Lubtchansky (“Ismael’s Ghosts”) for the first scenes is conventional, even classical, with a lot of measured shot-reverse-shot conversations. But when Paul’s younger sister Eve (Lily-Rose Depp) begins to narrate and tell us about her obsession with Abel, the camerawork gets far less steady and becomes handheld, which gets across the difference in point-of-view between Abel and Marianne and the far less stable Eve, who extols Abel’s hair, of course, and his voice, and takes photos of herself in the passenger seat of his car to pretend like she’s his girlfriend.

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Eve is basically a stalker of Abel through most of “A Faithful Man,” and both she and Marianne are far more active characters than Abel is. There has always been a streak of passivity about Garrel as a performer when he has worked in movies for directors like Bernardo Bertolucci, Christophe Honoré (for whom he has been a muse), and his own father Philippe Garrel. He has become a standard-bearer for his generation in French cinema, a more amiable Jean-Pierre Léaud for the 21st century, and while he could seem callow when he was just starting out, time has begun to deepen his emotional resources on screen so that he is becoming more than just the surface he offered in his early work.

Abel is a pawn in “A Faithful Man” being moved around by Eve and by Marianne, who admits that she doesn’t actually know who fathered her child. (She flipped a coin to decide which lover to pick to be Joseph’s father.) Eve declares “war” on Marianne, but Marianne deftly sidesteps this and tells Abel to sleep with Eve and see how it goes, and he semi-reluctantly does so. Eve admits that she had better orgasms with other guys while thinking of Abel than she actually has with Abel, and this is the kind of psychological insight that can be found in Carrière’s best screenplays.

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All the while, Joseph is recording practically everything said in Marianne’s apartment, and he even places a phone under her bed to monitor his mother’s sex life. In description, “A Faithful Man” sounds like quite a rich brew, but it is actually more of an exercise than anything else, a chance to play a kind of cinematic shell game with four main characters who are never quite what they seem.

For the last scene, which is fairly dramatic in theory, Marianne is wearing a grey coat with light pink accents that is so striking that it rules the frames with its beauty, and this is the kind of lightly enjoyable film that allows such incidental pleasures to dominate if they care to.

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In the trailer for “Queer Eye” Season 4, grooming-guru Jonathan Van Ness returns to his high school to give one of his former teachers a makeover.

Appropriately, the trailer opens with Van Ness’s voice greeting students over the intercom: “This is Jonathan Van Ness formally of Quincy Senior High School, wishing you a gorgeous day!”

And in case you don’t get the tone its going for, the trailer closes with a shot of culture expert Karamo Brown throwing his fist in the air “Breakfast Club” style. Fun stuff. But we’re positive you won’t forget about “Queer Eye.”

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Aside from a detour to Quincy, Illinois for the first episode, the rest of the season will still take place in the Kansas City, Missouri area, where the fab five help out a whole new group of people.

The rebooted series also features Antoni Porowski (Food & Wine), Bobby Berk (Interior Design), and Tan France (Fashion).

Season 5 was announced in June, and will be set in Philadelphia, Pennsylvania when it premieres in 2020.

“Queer Eye” is executive produced by David Collins, Michael Williams and Rob Eric for Scout Productions. Jennifer Lane serves as showrunner and executive producer. David George, Adam Sher, David Eilenberg and Jordana Hochman executive produce for ITV Entertainment.

“Queer Eye” Season 4 premieres July 19 on Netflix.

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“Queer Eye” fans, rejoice!

Netflix announced Tuesday that it has renewed the hit makeover series for both a fourth and fifth season, with Season 4 coming just a month from now on July 19. The streamer also announced that for Season 5, the Fab Five is headed to Philadelphia, Pennsylvania.

Production on the Philly-set Season 5 begins June 24, with the premiere slated for sometime in 2020. Season 4 continues from Season 3, taking place in Kansas City, Missouri.

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The rebooted series features Antoni Porowski (Food & Wine), Bobby Berk (Interior Design), Jonathan Van Ness (Grooming), Karamo Brown (Culture) and Tan France (Fashion).

In January, Netflix announced a four-episode special called “Queer Eye: We’re In Japan!” which will see the boys working with local tastemakers to improve the lives of four Japanese men and women from different backgrounds and cultures, while learning and experiencing local cuisine, fashion, design, grooming and culture firsthand. No date has been set for “Queer Eye: We’re In Japan!” though it is expected to premiere sometime in 2019.

“Queer Eye” is executive produced by David Collins, Michael Williams and Rob Eric for Scout Productions. Jennifer Lane serves as showrunner and executive producer.  David George, Adam Sher, David Eilenberg and Jordana Hochman executive produce for ITV Entertainment.

Watch the teaser below.

Have you missed us? (We missed you too. ??’?) We’re back in Kansas City for Season 4, July 19. ????????

– Queer Eye (@QueerEye) June 18, 2019

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In a court filing Tuesday, the Academy of Motion Picture Arts and Sciences pushed back against Roman Polanski’s assertion that he didn’t receive “fair hearing” to appeal his expulsion from the organization.

Responding to the lawsuit Polanski filed in April contesting his expulsion, the Academy said that the director was invited to submit any information relevant to the consideration that he should be reinstated as a member.

AMPAS attorney John Quinn wrote that Polanski “”presented a ten page letter from his lawyer advocating his position, over four hundred pages of supporting documents, a copy of a documentary titled Roman Polanski: Wanted and Desired, an email from his counsel, and a recorded video statement by Petitioner addressing the Board.”

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“All of these materials were presented to the Board of Governors, who voted on January 26, 2019 to uphold [Polanski]’s expulsion by a more than two-thirds supermajority,” read the filing.

Representatives for Polanski did not immediately respond to a request for comment from TheWrap. But in a statement provided to Deadline, Polanski’s attorney called the Academy’s filing “a stupid PR stunt by them to look politically correct.”

Quinn and the Academy also argue that Polanski has forfeited his right to file a lawsuit in Los Angeles Superior Court due to fugitive disentitlement, a doctrine that claims that fugitives cannot seek relief from the courts in criminal or civil matters. Polanski, 84, has been a fugitive from the United States since 1978 when he fled to France prior to sentencing in a sexual assault case involving his having drugged and raped a 13-year-old girl.

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Since then, several other women have come forward to accuse Polanski of raping them when they were children or teenagers under circumstances similar to the 1977 case. And in December 2017, the Los Angeles Police Department opened a new investigation into accusations by artist Marianne Barnard that Polanski molested her in 1975. He has consistently denied the accusations.

Polanski was expelled from the Academy in May 2018 along with Bill Cosby in response to the sexual assault accusations against them. The week prior to the expulsion, Cosby had been convicted on three counts of aggravated assault after as many as 60 women accused him of rape. The demand for accountability against sexual abusers in Hollywood also led the Academy to expel Harvey Weinstein in 2017 after reports were published of multiple sexual harassment and assault accusations against the producer.

Pamela Chelin contributed to this report.

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CANNES  —   Programmed by France’s Association for the Diffusion of Independent Cinema, Cannes’ ACID section turned its spotlight this year on Argentine cinema. As access to talent – creative and crews – becomes a predominant challenge for producers worldwide, given the huge production demand driven by global platforms, the radar can hardly be spread […] | 5/28/19

Magnolia Pictures has acquired the North American distribution rights to “The Whistlers,” a crime movie from Romanian director Corneliu Porumboiu that premiered in competition at Cannes, an individual with knowledge of the deal told TheWrap.

Magnolia intends to release “The Whistlers” later this year.

Porumboiu is one of the members of the Romanian New Wave of cinema and is the director of 2006’s “12:08 East of Bucharest” and 2009’s “Police, Adjective,” which won the Un Certain Regard at Cannes that same year. Porumboiu’s latest follows a crooked police officer who wants to free a businessman from an island in the Canaries but has to learn a bizarre local language involving whistling, hissing and spitting in order to do so. Here’s the official synopsis:

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In “The Whistlers,” not everything is as it seems for Cristi, a police inspector in Bucharest who plays both sides of the law. Embarking with the beautiful Gilda on a high-stakes heist, both will have to navigate the twists and turns of corruption, treachery and deception. A trip to the Canary Islands to learn a secret whistling language might just be what they need to pull it off.”

“‘The Whistlers’ is no minimalist slice of realism, but an oversized, deliciously twisted ride that runs on an endless supply of black humor and a sizeable body count,” TheWrap’s Steve Pond wrote in his review of the film. “You won’t laugh much while you’re watching it, but it’s a hoot nonetheless.”

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“The Whistlers” stars Vlad Ivanov, Catrinel Marlon, Rodica Lazar, Antonio Buil, Agustí Villaronga, Sabin Tambrea, Julieta Szonyi, and George Pistereanu. It’s a production of a 42 Km Film, Les Films du Worso, and Komplizen Film production in co-production with ARTE France Cinéma, WDR, Film I Vast, Filmgate Films, and Studioul de Creatie Cinematografica with the support of Romanian National Film Center, Eurimages, Bord Cadre Films, and Cinema City.

“Toni Erdmann” director Maren Ade is also a producer along with Marcela Mindru Ursu, Patricia Poienaru, Sylvie Pialat, Benoît Quainon, Janine Jackowski and Jonas Dornbach.

“‘The Whistlers’ is an incredible gush of pure entertainment,” Magnolia president Eamonn Bowles said in a statement. “Corneliu Porumboiu has been making brilliant films for the last few years and he has outdone himself with his most crowd-pleasing work yet.”

The deal was negotiated by Magnolia SVP of Acquisitions John Von Thaden with mk2 Films’ Fionnuala Jamison on behalf of the filmmakers. mk2 Films is handling worldwide sales.

Deadline first reported the news of the acquisition.

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'Mano a Mano' Wins Short Film Prize From Cinefondation at Cannes | 5/24/19

The short film “Mano a Mano,” from French director Louise Courvoisier, won the top prize from the Short Films and Cinéfondation Jury headed by Claire Denis at Cannes, the festival announced Thursday.

The jury led by Denis and consisting of Stacy Martin, Eran Kolirin, Panos H. Koutras and C?t?lin Mitulescu chose the winners between 17 student films out of 2,000 entries from 366 film schools around the world. The awards were presented at the 2019 Cinéfondation Prizes, now in its 22nd edition, during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films.

The Cinéfondation allocates a €15,000 grant for the first prize, €11,250 for the second and €7,500 for the third. The winner of the first prize is also guaranteed the presentation of his or her first feature film at a future Cannes Film Festival. The awarded films will also be screened at the Cinéma du Panthéon on May 28.

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First prize went to “Mano a Mano,” directed by Courvoisier and from the school CinéFabrique in France. It’s the story of two circus acrobats traveling from town to town to perform their duet, even as their romantic relationship is falling apart. They’re forced to confront their problems and regain their trust in one another while driving in a small car en route to their next performance.

Second prize went to “Hieu,” directed by Richard Van of CalArts in the US. The short is about a Vietnamese-American household that receives a surprise visit from a long-lost patriarch after he fails at a get-rich-quick scheme.

Finally, a joint third prize was awarded to both “Ambience” directed by Wisa Al Jafari out of the Dar al-Kalima University College of Arts and Culture in Palestine and “Duszyczka” (“The Little Soul”) from director Barbara Rupik at PWSFTviT in Poland.

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“Ambience” is about two young Palestinians who try to record a demo for a music competition inside a noisy, crowded refugee camp, only to discover a creative method to complete their deadline.

“The Little Soul” looks at a dead body that became stuck by a river bank. Its decaying insides still hide a human soul – a miniature of the deceased. When the organs rot, a tiny creature escapes, and it says goodbye to the corpse before setting off on a journey through the post-mortem land.

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The culture of France and of the French people has been shaped by geography, by profound historical events, and by foreign and internal forces and groups. France, and in particular Paris, has played an important role as a center of high culture and of decorative arts since the seventeenth century, first in Europe, and from the nineteenth century on, world wide. From the late nineteenth century, France has also played an important role in cinema, fashion and cuisine. The importance of French culture has waxed and waned over the centuries, depending on its economic, political and military importance. French culture today is marked both by great regional and socioeconomic differences and by strong unifying tendencies.

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